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GALLERY: People of NAMM, Part 2

We put faces to the names of all those gear personalities you’ve heard about.

Tom Anderson of Tom Anderson Guitars

If someone mentions the names Leo Fender or Les Paul, there’s a good chance that an image of them will pop into your head. But there are many other “names” in the guitar world that you know but you probably couldn’t pick the individuals out in a crowd. These are people whose guitars, amps, or pedals you might use on a regular basis or, at least, plan to buy as soon as that big lottery win comes your way.

Who? People like Reinhold Bogner, Andy Fuchs, or Dave Friedman (amps). Joe Knaggs, Dennis Fano, or Tom Anderson (guitars). Brian Wampler, Robert Keeley, or Harri Koski of Mad Professor (effects pedals). How about Seymour Duncan? Floyd Rose? Jim Dunlop? Did you know that there is a Rick Shubb behind all of those Shubb capos you see on the wall of your local guitar shop?

These personalities, and more, were at Winter NAMM in January and were nice enough to allow their pictures to be taken.

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Name: Edward Sarkis Balian

Hometown: Detroit, Michigan

Guitars: The Van Gogh Brothers, Vinnie and Theo


The Van Gogh Strat, aka “Vinnie,” built with a Canadian alder body and featuring a replica of the painter’s famous work.

This passionate builder designed a custom Strat/Tele pair, both adorned with hand-painted replicas of The Starry Night.

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Photo by Jay Gilbert

Jeff "Skunk" Baxter expands his acclaimed first-ever solo album, Speed of Heat, with a brand new Storytellers Edition, featuring brand-new commentary tracks.

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Beauty and sweet sonority elevate a simple-to-use, streamlined acoustic and vocal amplifier.

An EQ curve that trades accuracy for warmth. Easy-to-learn, simple-to-use controls. It’s pretty!

Still exhibits some classic acoustic-amplification problems, like brash, unforgiving midrange if you’re not careful.

$1,199

Taylor Circa 74
taylorguitars.com

4.5
4.5
4.5
4

Save for a few notable (usually expensive) exceptions, acoustic amplifiers are rarely beautiful in a way that matches the intrinsic loveliness of an acoustic flattop. I’ve certainly seen companies try—usually by using brown-colored vinyl to convey … earthiness? Don’t get me wrong, a lot of these amps sound great and even look okay. But the bar for aesthetics, in my admittedly snotty opinion, remains rather low. So, my hat’s off to Taylor for clearing that bar so decisively and with such style. The Circa 74 is, indeed, a pretty piece of work that’s forgiving to work with, ease to use, streamlined, and sharp.

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