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GALLERY: NAMM 2016 Day 2

A few highlights from Day 2 of NAMM.

Keeley Electronics unveiled the Workstation Series to ‪‎NAMM‬ attendees this week. Shown here are the Delay Workstation (left) and Mod Workstation. The Delay unit has two fully featured delay and reverb engines, each with eight Keeley-crafted soundscapes. Factor in the dual high-end processors and tap tempo, and you've got combinations galore.

The Mod features two Keeley overdrive pedals onboard, the 1962 and Oxblood, along with eight modulation effects such as chorus, harmonic trem, and rotary speaker simulator--all with external tap tempo.

Onstage, Tommy Emmanuel executes a move that is not from the playbook of his hero, Chet Atkins.

Photo by Simone Cecchetti

Recorded live at the Sydney Opera House, the Australian guitarist’s new album reminds listeners that his fingerpicking is in a stratum all its own. His approach to arranging only amplifies that distinction—and his devotion to Chet Atkins.

Australian fingerpicking virtuoso Tommy Emmanuel is turning 70 this year. He’s been performing since he was 6, and for every solo show he’s played, he’s never used a setlist.

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Blackberry Smoke will embark on a co-headline tour with Mike Campbell & the Dirty Knobs. Lead singer Charlie Starr shares, “What could be better than summertime rock and roll shows with Blackberry Smoke and the one and only Mike Campbell & The Dirty Knobs?”

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For anyone serious about mixing their own recordings, it’s a tool worth considering.

In the world of music production, the tools we choose profoundly influence the final sound of our recordings. I want to make the case for adding one tool that is rarely, if ever, in the “must have” or “sexy gear” spotlight but can deliver huge results to your mixes: the console summing mixer. Tighten up your belts—the Dojo is now open.

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Guest columnist Dave Pomeroy, who is also president of Nashville’s musicians union, with some of his friends.

Dave Pomeroy, who’s played on over 500 albums with artists including Emmylou Harris, Elton John, Trisha Yearwood, Earl Scruggs, and Alison Krauss, shares his thoughts on bass playing—and a vision of the future.

From a very young age, I was captivated by music. Our military family was stationed in England from 1961 to 1964, so I got a two-year head start on the Beatles starting at age 6. When Cream came along, for the first time I was able to separate what the different players were doing, and my focus immediately landed on Jack Bruce. He wrote most of the songs, sang wonderfully, and drove the band with his bass. Playing along with Cream’s live recordings was a huge part of my initial self-training, and I never looked back.

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