BackgroundThe Canadian Accessible Musical Instruments Network (CAMIN) is a partnership between multiple Canadian universities and a disability arts not-for-profit organization that piloted making musical instruments following a disability-led model and building community around this concept in Vancouver, Calgary, London, Toronto, and Montréal. This presentation will focus primarily on activities undertaken at the Toronto node of the network and their collaborations with disabled artists and local community partners. Research ReportedWe will discuss our partnership’s guiding principles of “make, mentor, manifest,” and share salient examples of outcomes of our project, which include: demonstrations of musical instrument prototypes created in collaboration with disabled artists; performances by disabled artists that demonstrate how disability is a generative source of their creativity; pedagogical initiatives by disabled artists to share their knowledge as access experts on how to make music teaching and learning meaningfully inclusive for disabled people. MethodCentral to our work is the concept of disability-led design, a principle and process that guides our work and bears resemblance to equity-driven participatory design (Harrington et al., 2019), and other co-design approaches that prioritize doing research with people as opposed to on or about people. We discuss what disability-led design looks like in practice as well as some of the successes and failures we have experienced engaging in this practice. ResultsWe have learned through our experiences that the partnerships we have forged between universities, disability and other community organizations, and artists are the most important outcome because they will support and sustain our collective work indefinitely. Finding the right people who are committed to disability-led design and understand that this relational work takes precedence over any products produced requires a deep commitment from all parties involved. With this foundation in place, disability-led instrument designs, performances, and pedagogical approaches that embed disability knowledge can emerge and endure. Conclusions and ImplicationsAs the history of design makes clear (Williamson, 2019), designing for disability has tended to bypass disabled people, thereby dismissing their experiences and knowledges, which constitutes epistemic violence (Ymous et al., 2020). By engaging in disability-led design initiatives in their respective communities, music educators have an opportunity to model for their students approaches to music teaching and learning that seek out disability leadership and frame music technologies not as solutions to “solve the problem of disability” but instead as manifestations of disability ingenuity.