I got to see unique instruments, people who shaped the musical instruments world for the past decades, all in a 4-day span.
In terms of art, there was no way of beating the ESP booth:
NAMM 2016 (Winter)
Regarding the whole show/exhibit, t is only fair to say that I now have a slightly different approach to my own guitar sound, hopefully for the better. Obviously, I didn’t change overnight… but some concepts and ideas did set in.
Being the “child in the candies shop”, [text].
[ photo gallery pending ]
One of the highlights was the conversation between Sterling Ball and Steve Morse, one I was fortunate to attend.
It is remarkable how so many subjects are related to the quotidian, how these guys’ problems are so similar to ours (enthusiasts and amateur musicians). Steve – as always – was a class -act, going into aspects of his personal life, his technique adjustments due to his wrist injuries, his daily activities, everything.
As simple and down-to-earth as you may imagine.
When I look at what I can use as tools for sounding better, the guitars, the pedals, the cables, the amps, all that comprises my equipboard, I know there is no perfect formula like a “one-fits-all” solution.
There are multiple (not only one!) solutions for multiple situations, and that’s the fun of it, the possibility of exploring what you have at your disposal.
Paul Reed Smith – November 2016
There is a (good) habit at Paul Reed Smith Guitars: making a unique, Private Stock, instrument per month, courtesy of their Custom Shop team.
This one is a killer, one-of-a-kind, set neck model, quite “a la Les Paul”, but I selected it as one of my favourite guitars of the year simply because of its beautiful matching headstock and logotype inlay.
Have you ever seen a better looking headstock? Ever? Be honest…
To check the guitar out in all its splendor, go here, it’s a Singlecut McCarty 594. That one would make Ted proud, I am certain.