How a high -tech guitars manufacturer with family roots, factory robots and artisanal soul is redefining expectations – and preparing to conquer Latin America and beyond.
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Music & Market He had the pleasure of talking to the team of Kepma Guitars USA — Tony Moscalco -founder and CEO, Brandon FosterGeneral Director, and Pauline FranceDirector of Public Relations – to learn more about guitars, how they are built and their interesting future plans.
Before becoming the faces of Kepma Guitars in the US, Tony and Brandon had forged long and respected careers in the music industry. Both veterans of St. Louis Music – the company behind brands such as Crate, Ampeg and Alvarez – worked together for more than a decade, gaining experience in product development, relationships with artists and global distribution.
Moscal then founded a successful business online and joined Peavey, where he spent 15 years leading international development. It was there that he met a key colleague for his eventual discovery of Kepma. This colleague was responsible for approveing Chinese factories for the production of Peavey – and it turned out that his brother -in -law was the owner of one of China’s best kept secrets in the manufacture of acoustic guitars.
“I asked: ‘Why did you never talk to us about this factory when we were in Peavey?’” Moscal recalls. “And she replied: ‘Because they never wanted to do business outside China. Here are 1,400 million people. Why would they need the US market?’”
But Moscal was intrigued. When visiting the Kepma factory, he found a modern installation, with robotic systems, laser cutters and a level of precision that rivaled the best in the world. “It was an incredible operation,” he says. “And I instantly knew that these guitars deserved a global audience.”
At that time, Kepma produced and sold 25,000 guitars per month – all within China. “They had no interest in exporting,” says Foster. “In a few months, the factory was literally empty because they sold all their inventory. They were doing very well without us.”
Moscal took more than three years of relationship construction, factory visits and family dinners to convince Kepma to allow exports to the USA “It was not a typical business agreement,” he says. “It was trusted and familiarity. His sister -in -law was the one who opened the door.”
Once they obtained green light, Moscal and Foster began importing a limited range of Dreadnough guitars, using their network of known distributors to present the brand. “We knew that the guitars were exceptional,” says Foster. “So we asked trusted people to try them – and they did.”
The first models presented in the US were adjusted with full machines for an impeccable tapping work and subjected to 300 hours of vibration test – simulating more than a year of use. Premium models came in rigid cases, with totally solid construction, high -end finishes and factory settings ready to play.
From there, Kepma’s reputation grew rapidly. “We use premium guitars to attract artists, especially composers in Nashville,” says Foster. “And once they played them, they always reacted the same: ‘How can this guitar be so good – and so accessible?’”
Today, the presence of Kepma in the US continues to grow, offering a full range from entry models to professional level. But the identity of the brand remains rooted in that initial commitment to excellence.
“It was never just sold products,” says Moscal. “It was to show the world that a Chinese company could do some of the best guitars – and do it with integrity.”
Having bridges to Latin America and beyond
Although Kepma’s expansion in North America was slow and deliberate, now the company directs its attention to new borders – in particular Mexico, Central and South America.
“We are currently not doing business officially in those regions,” says Tony Moscal. “And it is because of the same reason that we initially took us in the US: Kepma was cautious. They didn’t know who to trust.” However, Moscal and Foster, with extensive experience in these markets since their time in Peavey and St. Louis Music, are working to change the situation.
“We are actively exploring – and with enthusiasm – the Latin American market,” adds Pauline, who supports the Kepma Use in marketing team and contributes fresh ideas continuously. “There is a rapid recognition that the region is growing in musical influence and demand.”
According to Moscal, several important actors in distribution – not yet named, but recognizable – are already in conversations. “Everyone wants to participate,” he says. “We are close to being able to offer a wide range of Kepma products throughout the region.”
This strategy is backed by a robust global supply chain and associations with premium component brands. Kepma uses Elixir strings, works with Graph Tech for Selletas and Cejillas Tusq, and was the first manufacturer in China to implement Plek machines in production.
“We have more full machines than any guitar company, except Gibson,” says Moscal. “Most use them for repairs. We use them in manufacturing. Each Kepma elite guitar is perfectly adjusted from the factory.”
Foster adds that this quality level creates value not only for musicians, but also for distributors. “The guitars are affordable, but they feel and sound like high -end instruments,” he says. “They require little or no adjustment when removed from the box. They are a dream product for retailers.”
What differentiates Kepma is not just automation. “Of course, we use robots, lasers – and that gives us consistency,” says Moscal. “But when you touch a kepma, it still feels artisanal.”
France coincides. Being Fingerstyle guitarist, initially rejected an offer to work with the company. “But then I touched one,” he says. “It is the only acoustic guitar I use now. It has a soul.”
A vision rooted in reinvention
Kepma’s commitment to innovation was evident from the beginning. Moscal remembers visiting Music China in Shanghai – Fair greater than Namm or Musikmesse. “There were hundreds of guitar manufacturers, many producing for US brands or Europe,” he says. “I asked Kevin [cofundador de Kepma]How did you exceed all these? ‘ He told me, ‘we just wanted to build a better guitar. ”
That constant impulse of improvement even attracted prestigious marks to Kepma’s door. “Some of the most respected Spanish guitar manufacturers approached Kepma to make their instruments,” says Moscal. “A great manufacturer of US acoustic guitars even offered them the license to manufacture their brand throughout Asia. They said no.”
Because? Because Kepma refuses to manufacture for other brands (OEM). “Doing that would kill our identity,” says Foster. “There would be no Kepma brand if we were on that path.”
Instead, the company is committed to its own name – and now, for something completely new: Spanish premium guitars designed for the South American market.
“It’s a great announcement,” says Moscal. “Kevin promised to develop a complete line of high -end Spanish guitars – not only nylon ropes, but true Spanish instruments – thought specifically for South American musicians.”
With Latin America in the sights and a clear negative to compromise brand quality or integrity, Kepma seems ready to cause the same impact that it achieved in the US.
Industry attention, market resistance – and break barriers
Kepma’s silent rise did not go unnoticed in the industry. When the company first exhibited at the NAMM show in the US, competitors were revealing.
“We had a constant flow of employees of an important manufacturer in southern California – you can probably guess which one – visiting our stand,” says Brandon Foster. “We had virtual reality viewers with tours by the factory, and we literally have photos of their staff, with giftes and everything, standing there with our logo on the forehead watching our robots make guitars.”
Foster recounts a conversation with an executive who, after the presentation of Kepma, admitted: “The greatest threat to our company in the next five years is Kepma.”
Despite the disruption, veterans like Bob Taylor – already retired – have created friendly ties with the company. “We use a large amount of ebony, and Bob is part of the global supply chain,” says Moscal.
He also adds that Kepma wood processing capabilities do not have the same. “We even roit our woods – not only the lid, but also bridges, reinforcements and more – a technique that treats them with heat for greater resistance and stability – even in input models.”
His wooden operation, he says, left experienced professionals speechless. “Someone on TKL – the manufacturer of cases for Gibson and Martin – visited our factory. When he saw what we do, he was stunned.”
Even so, challenges persist. One of the largest: the perception that the products made in China are of low quality.
“I have worked for brands that bought the cheapest guitars in China – and they were large and respected brands,” says Moscal. “But that is not Kepma. They make premium guitars. And for years, they refused to export because they did not want to commit.”
Foster adds that the best way to break the stigma is simple: put a kepma in someone’s hands. “Once you play it, you stop worrying where it comes from,” he says. “And young musicians do not care. They just want a guitar that feels good and sounds incredible.”
To further improve the experience of playing, Kepma developed its own AcoustiFex pills system. It combines a pill under the bridge with internal microphone, with a unique feature: when it is not plugged in, it offers reverb, delay and chorus integrated – directly from the guitar.
“Leave people speechless,” says Foster. “You feel in your room, you light it, and suddenly there is depth and environment – without the need for an amplifier.”
The latest version of Acoustifex adds streaming by Bluetooth, allowing to play on clues or lessons directly from the guitar. It also includes an app with tuner, rhythm box, looper, recorder, and even otg recording for cell phones.
“And it is not on a guitar of a thousand dollars,” says Moscal. “We are talking about models of $ 249, $ 299”.
Looking to the future: a brand ready for the world
As Kepma enters its next global expansion phase, the approach remains the right partners – especially in Latin America. “It’s more than distribution,” says Pauline France. “It’s about building cultural relevance and emotional connection.”
France, with roots in Latin America, has promoted the idea of a line of premium Spanish guitars specifically for that market. “There is the myth that Latin America is only nylon strings,” he says. “We arrived with steel ropes – high quality at affordable prices.”
The idea, initially arising in conversation with co -founder Kevin, is already underway. “Are we able to produce Spanish class guitars?” Moscal asks. “Absolutely”.
Foster agrees. “They already do Dreadnough, Grand Auditorium, even a 36” model that sounds larger than a full size. Spanish guitars are just the next evolution. ”
And although overcoming geographical and market barriers takes time, Kepma travels through a path already traveled by iconic brands. “Ikea took 40 years to enter the US,” says Moscal. “Mercedes did not sell a single car here until the 1960s. Large companies often take their time. We too.”
With unique consistency, innovative technology and a growing fans base, Kepma is no longer just the best saved secret in China. It is quickly becoming a global force – a guitar at the same time.
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