Another Opening, Another Winter NAMM Show
by Jim Goodin
The southern California "Winter" NAMM show, National Association of Music Merchants, a magical show-and-tell of the newest "eye candy" products from just about every music manufacturer in the world, attracts an attending audience made up of a plethora of retail product representatives and store buyers, musicians, associated industry and even music-loving fans who knew somebody who knew somebody and were able to get a pass to the prestigious four-day show. The show takes place in Anaheim, California- ironically right next door to the king of fantasyland theme parks, Disneyland.
As a performing musician, I attend this much-heralded event to gain affiliation and support from instrument makers and associated music product producers such as string, case, and musical effects manufacturers. For example, for several years I have given guitar-oriented clinic performances in Sam Ash music stores nationally through my affiliation with GHS a string manufacturer who I've
Photo by Donna Scholl, 2008
been endorsing since the late 90's. Coming to the NAMM show allows me the opportunity to catch up with my present endorsing company's artist representatives, and sometimes I do a booth performance. Then too, I might have the added opportunity to market myself and music to other companies, or do a gig while in southern California.
At this year's NAMM show I was elated to see the premier appearance of my new book DADGAD Encyclopedia at the Mel Bay Publications booth, my affiliated publisher since 2001. This 184-page book/CD focuses on the open-tuning known by its acronym of DADGAD, which represents the tuning of the six strings of the guitar, low pitch to high.
Mine was not the only new Mel Bay book on display by any means. The Modern Guitar Method, Expanded Editions were there through Grade 5, and covers were displayed for Modern Methods for classic guitar, violin, viola and cello. In addition, the Mel Bay booth displayed its fine selection of instructional books for every instrument from guitar and autoharp to strings, woodwinds, brass, percussion, keyboards, and even the Chapman Stick not to mention a variety of outstanding instructional and performance DVD's by its stable of authors and high-profile performing artists.
To place things in proper perspective, the NAMM Show occupies the entire Anaheim Convention Center . For the most part, three floors covering an entire city block brimmed over with guitar, piano and electronic keyboard, percussion, horn, and string-related products plus other publishers and hundreds of associated musical accessory, software, and electronics manufacturers- all proudly displaying their wares.
Attendance at this year's NAMM Show had to be at an all-time high, particularly on Saturday January 19, the day I arrived- always "the" day to be present at the NAMM show; by about 1:30 in the afternoon, all NAMM parking lots were full and turning people away, making it necessary to park in nearby neighborhoods and taking your chance with the local law enforcement issuing tickets. One neighborhood gentleman kindly took pity on my plight and informed me that if I parked in Garden Grove, as opposed to Anaheim, I would not get a ticket. I had no choice but to trust his advice; after two days he proved right on the money.
In addition to the major guitar makers such as Fender, Gibson and Martin there were great displays of new work by Alvarez, Breedlove, Hill, Godin, Ibanez, Santa Cruz, Taylor, Larrivee, Michael Kelly, Luna Guitars, and many more. The innovative spider-like top from Babicz Guitars featuring their Lateral Compression Soundboard technology caught my eye last year and I made it a point to look them up this time.
Many NAMM show exhibitors staged performances by their endorsing artists in their respective booths. These ranged from a bluegrass band at the Saga Instruments booth to the Stray Catish rockers at the Fender booth.
Like a group of old friends gathering together to share their music, this percussion ensemble seemed carried away by a muse more akin to a tribal drummers' circle than a product-endorsing performance. This ensemble was one of several I experienced in row after row of percussion products filling one end of the convention center's first floor.
Many acoustic instrument makers, notably Breedlove, Santa Cruz and Taylor Guitars, as well as many professional audio manufacturers displayed their products on the lower concourse of the convention center. I discovered another circle of acoustic friends in a booth jam , this one including fellow musician Harvey Reid with whom I shared the stage at the Living Tradition Concert series.
On this same concourse at the Looperative booth, I happened upon other familiar faces including UK experimental bassist/looper Steve Lawson with his musical partner vocalist Lobelia demoing an audio processing product that does phrase sampling. I know Steve from the eclectic web forum on the art of "looping" Loopers-Delight where I have been absorbing much new knowledge and inspiration over the last year. Other artists from this community who performed during the NAMM weekend were the Walker brothers, Rick and Bill - who are both known for their long-standing expertise in the looping and experimental music community.
Although my NAMM Show pass as an independent musician came through my endorsement with Godin/Seagull Guitars, I roamed the entire show freely seeking opportunities to introduce myself and my music to prospective manufacturers. Two opportunities, much more happenstance than formal, came while roving about and engaging in unanticipated social exchanges. In a sense, this is what NAMM is all about, the networking with other attendees.
One such exchange happened on Sunday when I stopped to grab a bite for lunch and was looking for a table. A gentleman named Rick Greenly, a member of the Scorpinesque Arizona- based rock band Shut Up and Drive and a music product representative himself, offered me a spot at his table and we began to discuss our backgrounds and experiences. Rick was seeking new sales and representative opportunities in professional audio. One of the many reasons one comes to the NAMM show is to explore what might be used on the next gig. As I've learned, you never know where a trail will go so, along with a parting handshake, I bequeathed him with a copy of my latest CD.
Another chance meeting occurred as I was about to leave the lower concourse. Coming down the escalator was a gentleman holding a bizarre looking instrument that resembled an Arabic or Moroccan oud but it was merely a frame with a neck. I stopped the fellow and said "What's that!" "An electric oud", said the Arizona-based independent instrument builder. He was literally demoing his new prototype by carrying it around at the show! As I've been experimenting with the violin and fretless guitar for the past year and I'm mesmerized by the fretless sound, the electric oud was undoubtedly one of the coolest things I saw at this year's show. I gave this fellow a copy of my CD as well.
Another example of building relationships at NAMM is an experience I've had with a guitar manufacturer over the last three years. This particular builder is known for his artistic, well designed, highly playable but not overpriced line of instruments. My retail connection at Sam Ash opened the door that encouraged the guitar company's sales director to give my music and ideas a listen, and it looks as if a mutually beneficial manufacturer/endorser relationship is now possible.
As Sunday is the last day of the NAMM Show and many vendors are preparing to pack up their display materials, it is not regarded as the most productive time for presenting yourself or for doing business. Ironically, every meeting with the aforementioned guitar vendor has taken place on Sunday, so in this case, approaching a vendor on closing day has consistently worked to my advantage.
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