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GALLERY: NAMM 2012 Day 3

Photos from the floor of NAMM on day 3.

Huss & Dalton brought this beautiful 00-SP Custom to NAMM. It's built from 100 year-old sinker Honduran Mahogany that lurked at the bottom of a river in Belize for the last century.

You could be one of THREE winners in this PG Perks Exclusive giveaway

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An easy guide to re-anchoring a loose tuning machine, restoring a ā€œlostā€ input jack, refinishing dinged frets, and staunching a dinged surface. Result: no repair fees!

Pardon my French, but I’m about to misethe hell out of some en scenein this article about do-it-yourselfĀ guitar repair. Buckle-vous up.

The Guitarist is in the middle of double-tracking a solo. It’s not quite right. Creative juices are flowing, but at any moment, the gate could slam shut. Their social media feed is stagnant, and the algorithm thirsts for content. The studio is 80 bucks an hour. That new boutique fuzz pedal would sound great on this track, surely? It would, of course, as these things are the cure for all problems, but it rests just out of reach.

Desperate for a solution, the Guitarist rests their perfect new guitar against the warm tube amp–only for a moment … but a horrible amplified bwaang from wood, string, and concrete’s violent meeting breaks the temporary silence as gravity muscles potential into the kinetic. The Guitarist breathes a defeated ā€œaw, man,ā€ like a loosened balloon farting hopelessly across an empty room. The gate closes, juices no longer loose, locked, impenetrable by any transistor-based effect. And it’s time to assess the damage.ā€

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Elliott Sharp is a dapper dude. Not a dandy, mind you, but an elegant gentleman.

Photo by Andreas Sterzing

The outside-the-box 6-string swami pays homage to the even-further-outside-the-box musician who’s played a formative role in the downtown Manhattan scene and continues to quietly—and almost compulsively—shape the worlds of experimental and roots music.

Often the most potent and iconoclastic artists generate extraordinary work for decades, yet seem to be relegated to the shadows, to a kind of perma-underground status. Certainly an artist like my friend Elliott Sharp fits this category. Yes, his work can be resolutely avant-garde. But perhaps the most challenging thing about trying to track this man is the utterly remarkable breadth of his work.

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Growing up in Australia, guitarist Jedd Hughes tells us he dreamed of playing in Vince Gill’s band as far back as elementary school. Now, he lives in Nashville and stands next to the man himself on stage night after night. We’ve invited Jedd to join us on this episode of 100 Guitarists to talk about just what makes Vince’s playing so special.

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