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GALLERY: Musikmesse 2014 - Pedals and Accessories

Take a look at the stomps, pickups, and accessories that filled the halls of Musikmesse.

You may not have heard of Amber Pickups in the States, but you may know master winder Wolfgang Damm’s work via the P-94, the humbucker-sized P-90 that Damm created for Gibson. “Many modern pickups sound to me like there’s a cloth over the tone,” says Damm. “I want to pull that cloth away.” Other pups he brought to Musikmesse 2014 were his Spirit of 59 Gold Filter and Twang-Style Vintage sets.

Musikmesse isn’t what it used to be, show veterans say. Attendance is far from peak. There are fewer full exhibition halls. High participation costs (and the ability to announce and publicize products digitally) have prompted numerous companies to bypass the once-essential event.

But you know what? Messe is still huge.

NAMM’s European equivalent, held each year in Frankfurt, Germany, is substantially larger than its Anaheim counterpart. Far louder, too: As at NAMM, “sound police” armed with decibel meters patrol the floor, but they’re slackers. Messe is deafening.

But, hey, what’s a little tinnitus when you get to spend four days ogling so many cool new music products? From March 12th through 16th we roamed the vast halls, marveling at superbly crafted boutique instruments, solid working-player tools, and some remarkable budget-gear bargains.

The show highlights? For North American players like us, it’s probably the chance to fondle the phenomenal creations of small-production European shops whose instruments tend to be scarce in the States. The phrase “Old World craftsmanship” may be a cliché, but Messe schools you on how it became one. You can hardly turn around without being dumbstruck by a ravishing instrument that blends the engineering chops of Stuttgart or Turin with the design elegance of Milan or Barcelona.

But our report isn’t just some glamour-gear buyers’ guide for investment bankers and lottery winners indulging in a European grand tour. Quality work and compelling style were equally evident in mid-priced gear for working stiffs and in some remarkable entry-level bargains.

It’s hard to summarize such a vast event with a simple tag—but if pressed, I’d go with “retro fun.” Per usual, vintage-inspired designs reigned supreme. But we saw more manufactures playing with vintage aesthetics, recombining old-school elements in winning new ways. By and large, manufacturers seem to be having fun. We certainly were—and it’s not just the beer and schnitzel talking!

Slayer announces a one-night-only show just added to the band’s handful of headline concerts set for this summer. Marking the band’s only U.S. East Coast performance in 2025, Slayer will headline Hershey, PA’s 30,000-seat Hersheypark Stadium on Saturday, September 20, 2025.

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Reader: Federico Novelli
Hometown: Genoa, Italy
Guitar: The Italian Hybrid

Reader Federico Novelli constructed this hybrid guitar from three layers of pine, courtesy of some old shelves he had laying around.

Through a momentary flash, an amateur Italian luthier envisioned a hybrid design that borrowed elements from his favorite models.

A few years ago, at the beginning of Covid, an idea for a new guitar flashed through my mind. It was a semi-acoustic model with both magnetic and piezo pickups that were mounted on a soundboard that could resonate. It was a nice idea, but I also had to think about how to make it in my tiny cellar without many power tools and using old solid-wood shelves I had available.

I have been playing guitar for 50 years, and I also dabble in luthiery for fun. I have owned a classical guitar, an acoustic guitar, and a Stratocaster, but a jazz guitar was missing from the list. I wanted something that would have more versatility, so the idea of a hybrid semi-acoustic guitar was born.

I started to sketch something on computer-aided design (CAD) software, thinking of a hollowbody design without a center block or sides that needed to be hot-worked with a bending machine. I thought of a construction made of three layers of solid pine wood, individually worked and then glued together in layers, with a single-cutaway body and a glued-in neck.

For the soundboard and back, I used a piece of ash and hand-cut it with a Japanese saw to the proper thickness, so I had two sheets to fit together. Next, I sanded the soundboard and bottom using two striker profiles as sleds and an aluminum box covered in sandpaper to achieve a uniform 3 mm thickness. A huge amount of work, but it didn't cost anything.

“It was a nice idea, but I also had to think about how to make it in my tiny cellar without many electric tools and out of old solid-wood shelves I had available.”

The soundboard has simplified X-bracing, a soundhole with a rosewood edge profile, and an acoustic-style rosewood bridge. For the neck, I used a piece of old furniture with straight grain, shaped it to a Les Paul profile, and added a single-action truss rod. The only new purchase: a cheap Chinese rosewood fretboard.

Then, there was lots of sanding. I worked up to 400-grit, added filler, primer, and transparent nitro varnish, worked the sandpaper up to 1,500-grit, and finally polished.

Our reader and his “Italian job.”

For electronics, I used a Tonerider alnico 2 humbucker pickup and a piezo undersaddle pickup, combined with a modified Shadow preamp that also includes a magnetic pickup input, so you can mix the two sources on a single output. I also installed a bypass switch for power on/off and a direct passive output.

I have to say that I am proud and moderately satisfied both aesthetically and with the sounds it produces, which range from jazz to acoustic and even gypsy jazz. However, I think I will replace the electronics and piezo with Fishman hardware in the future.

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Seven previously-unheard Bruce Springsteen records will be released for the first time this summer with “Tracks II: The Lost Albums,” coming June 27.

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The guitarist-of-all-trades runs us through his formidable live rig.

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