{"id":51075,"date":"2016-02-04T08:18:16","date_gmt":"2016-02-04T13:18:16","guid":{"rendered":"http:\/\/hardrockhaven.net\/online\/?p=51075"},"modified":"2016-02-04T22:01:51","modified_gmt":"2016-02-05T03:01:51","slug":"winter-namm-2016","status":"publish","type":"post","link":"https:\/\/hardrockhaven.net\/online\/2016\/winter-namm-2016\/","title":{"rendered":"Winter NAMM 2016"},"content":{"rendered":"

by Alissa Ordabai<\/span>
\n– Sr. Columnist —<\/p><\/blockquote>\n

January 20-24, 2016 at Anaheim Convention Center in Anaheim, CA. —<\/h3>\n

\"NAMM-Event-LG\"<\/p>\n

The U.S. musical instruments industry includes nearly 600 companies with combined annual revenue of approximately $2 billion. As a result, the winter show of the National Association of Music Merchants (NAMM) remains one of the most important music industry events \u2014 not only for the United States, but for the rest of the world, too. After all, the value of imported products is approximately 70 percent of U.S. production, or $1.4 billion in monetary terms. So it\u2019s no wonder the NAMM show floor at Anaheim Convention Center, at times, feels like the Tower of Babel, a cornucopia of languages spoken, both, formally and informally. <\/p>\n

But NAMM also continues to grow and to stretch beyond being just a trade show. The program expands each year, including new workshops, seminars and forums. Add to this with performances, artist appearances and award ceremonies, and it becomes clear why this torrent of events has turned the winter NAMM of 2016 into the biggest music biz gathering in the show\u2019s history, with more than 99,000 attendees from 137 countries. <\/p>\n

The sheer number of Rock stars and virtuosos available for product demonstrations, answering questions and giving out handshakes always adds to NAMM\u2019s pulling power and makes it the place to be for musicians and music business professionals. Nikki Sixx, Kerry King, Gary Holt, Steve Vai, Yngwie Malmsteen, Rex Brown, Lita Ford, Jennifer Batten, Eric Gales, John Petrucci, Nita Strauss, Billy Sheehan, Todd Kerns, Chris Broderick, Max Cavalera, John 5, Piggy D, Kiko Loureiro were just some of the many superstars who made appearances at NAMM this year. <\/p>\n

However, making sales deals on instruments and music products remains the show\u2019s original and prime purpose. And the power of seeing a Rock star endorsing a particular brand often makes all the difference when ordinary folks choose their instruments \u2014 which is something that, both, manufacturers and retailers know better than any journalist ever will.<\/p>\n

This year\u2019s star attraction, Nikki Sixx, partnered with Dean Markley, had fans lined up from early Saturday morning to obtain wrist bands to meet and greet Sixx later that day. When Sixx appeared on the show floor in the afternoon, he wasn\u2019t alone, but with his Sixx: A.M. bandmates DJ Ashba and James Michael. Autographs for hundreds of fans were signed on the band\u2019s mini-posters advertising new music coming in 2016 and bearing a Dean Markley logo. Dean Markley has been making Nikki Sixx signature strings for years, but the slogan remains the same, claiming that these strings are \u201cbuilt to take a Nikki Sixx kind of licking \u2014 then keep taking more.\u201d<\/p>\n

\"NAMM<\/p>\n

Later in the week, DJ Ashba revealed his new Schecter signature guitar. Although The Schecter website still does not show any information on this instrument, the specs that Ashba is listed on his site are maple neck, ebony fretboard, mother-of-pearl crow inlays, EMG 81\/sustainiac pickups, 3-way pickup selector, kill switch, Grover tuners and D-Tuna\/Floyd Rose. \"NAMMIt looks like this time around he chose to go in a simpler, trendier direction than with his 2014 signature Gibson Les Paul, which had custom wiring and Ashba spec’ed Seymour Duncan Alnico II Pro and JB pickups. Since Sixx has three signature bass guitars with Schecter, it was a logical step for Ashba to start collaborating with the company.<\/p>\n

The lucky few who got to meet Sixx could later turn to the Seymour Duncan booth just a few aisles away and say hello to Yngwie Malmsteen, who has been using his signature Seymour Duncan YJM Fury pickups since 2011. Noiseless Strat single-coils are based on the original Stack design, but with custom-length alnico 5 rod magnets, 4-conductor lead wire, and wax potting for squeal-free sound. <\/p>\n

\"NAMM<\/p>\n

<\/p>\n

by Alissa Ordabai<\/span>
\n– Sr. Columnist —<\/p><\/blockquote>\n

\"NAMMWhile Malmsteen\u2019s been sharing jokes and smiles with fans at the Seymour Duncan booth, Tal Wilkenfeld had a huge line of people lining up to meet her at the EBS stand, where she took over from Billy Sheehan, who was there theday before. Wilkenfeld \u2014 who hit global fame after playing bass on the now-legendary Jeff Beck\u2019s Live at Ronnie Scott\u2019s CD and DVD \u2014 uses EBS amps and EBS OctaBass. OctaBass is an analog octave divider, which creates a single-note one octave below the pitch of the played note. The best thing about it is the incredibly fast tracking circuitry that lets you play at the speed you want. It adds extra dimension to bass solos when sub-notes are mixed with the original note. Some say it makes the best impression when played on the higher frets, but it also works well with distortion. Just remember to keep it before the drive in the signal chain. <\/p>\n

Musicians who played; however, got more attention than those who didn\u2019t. The ESP room on Level 2 of the Convention Center was jam-packed for performances by Gary Holt (of Exodus and Slayer fame) and Marco Mendoza (Thin Lizzy). This year, Gary Holt signature ESP comes painted with his own blood, courtesy of surrealist artist Vincent Castiglia. According to blabbermouth.net, the blood was drawn from Holt backstage after a Slayer show in Long Island, N.Y., where Castglia collected 18 vials, which he used on the guitar. As Jimi Hendrix used to say, \u201cThe world is nothing but a big gimmick, isn\u2019t it?\u201d<\/p>\n

\"NAMM<\/p>\n

Marco Mendoza delivered a ruggedly funky performance on Saturday \u2014 full of soulful, expansive Classic Rock solos on a five-string ESP bass. His ESP signature bass MM-4 (dark see-through green sunburst), has been upgraded to MM-4FM with EMG X-Series pickups and Hipshot drop tuner. MM4FM has a solid, double-cut alder body with a flamed maple top. A maple\/walnut 21-fret neck is bolted to the body. Although a brilliant professional instrument, it is by no means the only ESP bass Mendoza is capable of enjoying. The five-string ESP Mendoza played that day was throwing in an extended range, extra fun and allowed him to play chords that, at times, were indistinguishable from a baritone guitar.<\/p>\n

\"NAMM<\/p>\n

Max Cavalera\u2019s LTD MAX-200 RPR also has gone through some changes this year. It now has a new bevel-edged body shape, but super-high output ESP Design humbuckers remain in place and continue to produce a brutally barbarous sound. The body is basswood and the bolt-on neck is maple topped with 22-fret rosewood fingerboards. Extra jumbo frets, 1.65-inch molded nut and 13.77-inch radius are standard LTD fingerboard features. ESP-Designed LH-150 humbuckers in the bridge and neck positions are passive, but produce an infernal growl. <\/p>\n

\"NAMM<\/p>\n

Cavalera and entourage were a prominent NAMM presence on Friday, setting up a temporary camp at the S.I.T. Strings booth and signing autographs for an endless line of fans. Looking healthy, upbeat and on the ball, Cavalera now seems to find himself in a much better place than at the end of the last decade. He came through genuinely interested and moved to hear stories from fans who approached to talk, and his wife and manager, Gloria, looked happily busy helping manage the endless stream of people wanting to meet her husband. <\/p>\n

\"NAMM<\/p>\n

Ibanez, which this year celebrates the 25 anniversary of Steve Vai\u2019s seminal album Passion and Warfare, has released the Universe limited edition guitar in three different finishes. Vai was seen at the Ibanez booth on Saturday before making way to the Boss room on the 3rd floor to demo Waza amplifiers and his new Legacy Tone Capsule. <\/p>\n

\"NAMM<\/p>\n

The Legacy Tone Capsule is a voicing circuit for the Boss Wasa amp, which Vai and Boss engineers developed together. The amp provides four independent channels, custom voicing options via \u201ctone capsules\u201d that re-voice tube characteristics of the Waza amp. The goal was for \u201ctube logic\u201d technology to modify the tone to produce Vai\u2019s signature sounds. And the result sounded convincing \u2014 from glossy sustained tones to
\nmelting shimmers. Although it would perhaps impress even more if demoed by someone other than Vai himself. After all, the tone is all in the fingers, as even school children know these days.<\/p>\n

\"NAMM<\/p>\n

Kiko Loureiro, who has just seen his first release with Megadeth \u2014 the critically acclaimed 13-track magnum opus Dystopia \u2014 go to the top of metal charts, also stopped by the Ibanez booth at the same time as Vai and was promptly set upon by fans. When Hardrock Haven caught up with Loureiro at last year\u2019s winter NAMM, he was able to navigate the show floor with barely as much as a nod from a few guitar journalists. This time around fan attention was running thick but still not as much as Vai, who practically was mobbed at the Ibanez booth.<\/p>\n

<\/p>\n

by Alissa Ordabai<\/span>
\n– Sr. Columnist —<\/p><\/blockquote>\n

\"NAMMThis year, Ibanez turned heads with a nine-string RG guitar. Factory tuning is E\/B\/G\/D\/A\/E\/B\/F#\/C#, but it obviously offers a wide range of down-tuning options. Basswood body, a quilted maple top and 28-inch scale neck, rosewood fingerboard with jumbo frets \u2014 make this a spectacular-looking instrument. Conceived not to bring in profit, but as a brilliant marketing move, and it serves the purpose of making nine-string guitars widely accessible at a street price well under a grand. <\/p>\n

Each year, Ibanez also releases a new eight-string back guitar, slightly changing the specs, and 2016 is no exception. The new RG852-GK hardly is different from RG8, but the new model is made of basswood, not mahogany, and the bridge is heavier and more complex than RG8\u2019s hard-tail.<\/p>\n

\"NAMM<\/p>\n

The Ibanez RC2720 is an interesting one this year: it has the right color and the right looking neck for the fans of SG-type guitars, but features alder as material for the body and P90 pickups. Lately, Ibanez has been investing a lot into Roadcore series, including
\nStrat-alikes, Tele-alikes, and semi-acoustics, but an unpopular pickup choice makes this particular instrument a rather strange concoction.<\/p>\n

\"NAMM<\/p>\n

The Ibanez Talman TM302 and TM1702M-TB are interesting Telecaster-themed studies, but are by no means the first attempts by Ibanez to explore this direction. The first endeavors took place in the \u201890s, but those guitars were soon discontinued. So here we have two new models. Both look cute, but who are the potential buyers? The same question arises in regard to the updated Ibanez George Benson signature GB10SEBS. It\u2019s hard to imagine jazz players going to Ibanez as their brand of choice, no matter how impeccably elegant and well-made this guitar is. <\/p>\n

\"NAMM<\/p>\n

While Fender, to this day, makes the most powerful advertising statements simply by displaying historic concert photos of Jimi Hendrix, younger brands rely on present-day celebrity pulling power to give their product maximum exposure. This year, Jackson presented a whole range of exciting signature guitars and invited a cluster of superstar players to give its NAMM presence an extra oomph.<\/p>\n

Chris Broderick (ex-Megadeth, Act of Defiance), Phil Demmel (Machine Head), David Ellefson (Megadeth) and Andreas Kisser (Sepultura) appeared Saturday afternoon for a buzzing autograph session at the Jackson booth. \u201cWe all grew up together,\u201d Ellefson later said on the Jackson website about this get-together. \u201cWe are all kind of part of the same community. There\u2019s a certain way we all play; there\u2019s a
\ncertain way we think.\u201d<\/p>\n

The team spirit was electrifying, and the new instruments were spectacular. Chris Broderick expanded his collection of Jackson signature guitars this year with new U.S.A. six- and seven-string hard-tail Soloist models: Chris Broderick USA Soloist HT6 and Chris Broderick USA Soloist HT7. <\/p>\n

\"NAMM<\/p>\n

Broderick designed the original highly acclaimed Soloist series with Jackson Custom Shop Master Builder Mike Shannon. The new hard-tail models feature mahogany sides and back, quarter sawn maple neck, direct mount custom DiMarzio pickups designed by Broderick, himself, 12-inch-radius ebony fingerboard with 24 jumbo stainless steel frets, 25.5 inch scale, Planet Waves auto-trim tuning machines and Ernie Ball strap locks. Oh, and did I mention that both, HT6 and HT7, look absolutely stunning in black, trans black, trans blue, trans red and trans white?! <\/p>\n

\"NAMMEllefson\u2019s new U.S.A. Signature Concert Bass is available in four- and five- string models that feature alder body with black binding, handrubbed urethane finish, quartersawn neckthrough neck with white binding and scarf joint, 12-16 inch compound radius rosewood fingerboard, outlined sharkfin inlays, 21 jumbo frets, EMG humbucking neck (35CS) and bridge (35DC) pickups, five black domed control knobs (volume control, three-band EQ, blend), Jackson high mass bridge and Hipshot\u00ae open-gear locking tuners. Both models come in Satin Black or Satin Silver.<\/p>\n

Another new Jackson signature model this year is Christian Andreu USA Rhoads & X Series Rhoads. Gojira guitarist collaborated with Jackson to create his version of the Rhoads design. It uses a custom Charvel MFB humbucker, 22 jumbo frets with a \u201cG\u201d for Gojira inlay at the 12th fret on the ultra-fast 12 -16-inch compound radius fingerboard of the mahogany neck. Jackson sealed die-cast machines and adjustable compensated strings-through-body create amazing tuning stability. <\/p>\n

\"NAMM<\/p>\n

<\/p>\n

by Alissa Ordabai<\/span>
\n– Sr. Columnist —<\/p><\/blockquote>\n

\"NAMM<\/p>\n

This year, the Fender booth went for the vintage theme, or at least the vintage theme of the Custom Shop Relic guitars is what stayed with you for days. A sleek, elegant artwork greeted visitors to Fender\u2019s enormous upper-level exhibition space: A guitar taken apart with each element suspended in the air within a transparent rectangular box. Playing up the contrast between the old and the new, it juxtaposed itself against the mock vintage instruments further down the hall – from Closet Classics to Journeyman Relics. <\/p>\n

\"NAMMFender\u2019s classic designs in factory-worn finish are geared to resemble a well-used instrument, and, these days, this concept gains more acceptance. There are five levels of \u201crelic-ing\u201d treatments that Fender Custom Shop uses: New Old Stock, Closet Classics, Journeyman Relic, Relic and Heavy Relic, each using its own techniques of making guitars look like they\u2019ve been played hard on the road for the past 60 years or so. <\/p>\n

Don\u2019t like the idea of paying a hefty price for an instrument with a beat-up finish? Enter Fender\u2019s brand-new American Elite series whose main idea is to integrate almost a dozen of high-performance new features into all of Fender\u2019s classic models: Strat, Tele, P-bass and J-bass. Features include new neck shapes, (a modern C morphing into a D-shape as you go to the higher areas of the neck), brand-new dual action truss rod design, soft-touch knobs and the new noiseless pickups, which are fourth generation noiseless and are described by Fender as \u201cthe crown jewel of the series.\u201d<\/p>\n

Fender Master Builder Yuri Shishkov\u2019s gem-encrusted Music Repeater Tele (1000 diamonds, 38 sapphires, and 325 pearls) is said to be inspired by Swiss watch craft. Don\u2019t they say you can only be as good as your taste? But this outlandish instrument perhaps champions a bigger idea: That of diamonds \u2014 if valued fairly \u2014 being more fit for crafts than jewelry. <\/p>\n

\"NAMMIn the world of amplifiers, the Randall Kirk Hammett KH103 Signature Amp has been in development for a few years and premiered this year. According to Randall, Hammett is in the studio right now, recording a new Metallica album with this amp. The voicing channels (settings of low, mid, and high control the amount of gain on a particular channel) allow you to move easily through different sounds of the Metallica catalog. For each channel, you have a tube-driven boost and two separate MIDI-switchable loops with which you can switch between two completely different loop scenes. You set up a scene, press store, and it blinks twice to show it is tied to a particular MIDI button \u2014 this is how easy it is to use this amp. Two master volumes allow for volume jump to be programmed into any time of the set. The amp is in stores already at $2,000 USD street price. <\/p>\n

\"NAMMMesa\/Boogie made waves with the JP-2C John Petrucci signature amp head, an updated reissue of the Mark IIC+ which, incidentally, Metallica used in 1986 on Master of Puppets. The new three-channel head has five modes. Pull gain boosts and two five-band EQs provide a range from clean to lead and shred. New features include a CabClone cabinet simulator output with multiple voices, and the whole amp is MIDI programmable.<\/p>\n

Vox continues to crossbreed new and old technology with its new AV series. Driven by a 12Ax7 preamp, each AV is designed to produce 8 different tones.The company\u2019s obsession with putting real tubes inside amps to serve a decorative purpose is perplexing. After all, what impact can one 12AX7 have on a AV15 or two of those on a AV30? There is a reason why the Valvestate idea was dumped byMarshall back in the \u201890s and why AC and Night Train remain the most popular Vox series. And it is simple: People prefer either tubes throughout or all-digital amps. <\/p>\n

\"NAMM<\/p>\n

Yamaha \u2014 which didn\u2019t get hung up on tubes and managed to create its megasuccessful THR line without as much as a thought of them \u2014 has brought out a new THR100H amp to the 2016 NAMM show. This one definitely is for the stage as opposed to previous THR line amps that were designed for home use. Yamaha\u2019s virtual circuitry modeling, which models circuits instead of the actual sounds, gives this digital amp a great dynamic sound. It gives you access to a selection of five classic amplifiers, including a solid state. Other features include three types of boost, four different reverbs and an EQ. You are guaranteed not to encounter an amp this year as compact and lightweight (under 5 kg) that would sound like such a heavyweight.<\/p>\n

\"NAMM<\/p>\n

But speaking of valves put to good use inside a small box, the Aspen Pittman Duo Tonic overdrive pedal captures the sound of a tube amp cranked up to the extreme. The tube channel uses dual 6205 pentode tubes (yes, two of them) to play the role of a vintage amplifier and can be used separately or in tandem with a valve screamer with a JRC4558 chip. When you use both together, the distortion runs rampant and gives you the sound you hear only when pushing a tube circuit to saturation. <\/p>\n

\"NAMM<\/p>\n

<\/p>\n

by Alissa Ordabai<\/span>
\n– Sr. Columnist —<\/p><\/blockquote>\n

\"NAMMStone Deaf FX is a small English firm that started just a few years ago as a family business, but it now counts Red Hot Chili Peppers and Avenged Sevenfold among its customers. This year, the company unveiled five new guitar effect pedals: Stone Deaf Syncopy (a BBD analogue delay with 500ms of delay time, modulation, tap tempo and MIDI control); Tremotron tremolo (with fully analogue signal path and a wide array of shapes such as sine, square, ramp and reverse ramp); PDF-2 parametric equalizer (which lowers the noise floor and adds an adjustable gain knob and dual footswitch for clean and dirty channels, plus expression input controls); Kliptonite (a dual velcro fuzz and overdrive pedal that splits an op amp-based distortion circuit into two halves and mixes them both back in again); and Warp Drive (which can articulate high gain like a proper high-gain amp, with parametric EQ control over the frequency range, from 35Hz to 6kHz, plus a built-in noise gate). <\/p>\n

EarthQuaker Devices presented eight new pedals, including its first envelop filter. Other products on show were the Night Wire Dynamic Tremolo, Bows Germanium Preamp Booster, Spires Fuzz Doubler, Gray Channel Dynamic Dirt Doubler, Bellows Fuzzdriver, Acapulco Gold Poweramp Distorition and the brand new Avalanche Run stereo reverb\/delay. The delay has more of a tape feel with bucket brigade vibes, and the reverb\u2019s deep \u201cunderwater\u201d tone is adjustable. Some of the features are reverse delay mode, tap tempo with subdivisions, assignable expression control and tails\/true bypass modes. You can use delay and reverb separately, or combine them for various effects. With stereo inputs and outputs, the pedal will appeal not only to guitarists, but also to keyboard players. <\/p>\n

\"NAMM<\/p>\n

Line 6, this year, delivered not only a new \u201clunchbox\u201d amp that produces detailed sound via stereo speakers in a compact format (AMPLIFi\u00ae 30), but also a new processor (Helix\u2122) and a foot controller. FBV\u21223 is a next-generation foot controller that allows you to save presets and gives total hands-free control of Line 6 amps and effects. Line 6 product specialists also delivered lectures\/demos at the company\u2019s spacious upper-level booth on how to develop guitar tone and how to use various effects. The number of attendees grew from just a few on the first day of the show to full house on Saturday and Sunday. <\/p>\n

\"NAMM<\/p>\n

Speaking of education, a barrage of activities were offered from Day 1 of NAMM. The Intellectual Property Forum ran for two days and was facilitated by the IP Academy of NAMM and representatives from the Patent and Trademark Office. IP roundtables continued through Saturday and Sunday. The NAMM Idea Center also presented a dozen events each day with a focus on entrepreneurship and business development.<\/p>\n

NAMM TEC organized a number of fascinating lectures under the TEC Tracks umbrella, including \u201cWhat Audio Product Specs Don\u2019t Tell You\u201d and \u201cFuturistic Control Surfaces: The Multidimensional Realm of Next Generation Instruments.\u201d Not to mention plenty of lectures on composing, sound technology and lighting. Celebrity speakers, such as engineer\/producer Eddie Kramer (of Led Zeppelin and Jimi Hendrix fame, among other things) added to the buzz. <\/p>\n

\"NAMM<\/p>\n

Evening music performances at the Hilton and the Marriott hotels heated up the party atmosphere, with top-liners such as dUg Pinnick, but also countless of up-and-coming musicians who were grateful for a chance to play for such a diverse music industry crowd. Californian wine flowed freely and new friendships \u2014 not to mention business deals \u2014 were struck during the show\u2019s after-hours. <\/p>\n

\"NAMM<\/p>\n

It was impossible to catch up with all the musicians with whom Hardrock Haven has ties or to review all the instruments and gear the website is interested in, but we paid attention to instruments endorsed by the players whose music we love and to products we, personally, would like to own. When it\u2019s all said and done, the beauty of NAMM is that each attendee is a musician \u2014 even if it\u2019s a business person or a journalist. This is the reason why NAMM stays famous for its atmosphere of community and camaraderie and why it is always such an electrifying experience to come to Anaheim each January for four insane days of work, entertainment and revved-up excitement. <\/p>\n

\"NAMM<\/p>\n

All photos appear courtesy of Alissa Ordabai.<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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