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GALLERY: Summer NAMM 2016 Day 1

Here's a taste of the gear we came across during the first day of Summer NAMM, with tone toys from Fender, Seymour Duncan, Bullhead Amplification, and more.

Fender Mustang

Though the Mustang never really left the Fender line (several special editions and Modern Player versions have come and gone in recent years) this new version unveiled at ‪NAMM‬ is the first standard Fender 'Stang in a while. There are a few deviations from vintage spec--most notably the hard tail bridge. But they feel slinky, spanky, sassy at at $449 street are priced right too.

A dual-channel tube preamp and overdrive pedal inspired by the Top Boost channel of vintage VOX amps.

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Jack White's 1950s Kay Hollowbody Guitar
- YouTube

This hollowbody has been with Jack since the '90s purring and howling onstage for hundreds of shows.

Our columnist’s Greco 912, now out of his hands, but fondly remembered.

A flea-market find gave our Wizard of Odd years of squealing, garage-rock bliss in his university days.

Recently, I was touring college campuses with my daughter because she’s about to take the next step in her journey. Looking back, I’ve been writing this column for close to 10 years! When I started, my kids were both small, and now they’re all in high school, with my oldest about to move out. I’m pretty sure she’s going to choose the same university that I attended, which is really funny because she’s so much like me that the decision would be totally on point.

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Ethnomusicologist Frances Densmore records the song of Mountain Chief, head of the Blackfeet Tribe, on a phonograph for the Bureau of American Ethnology in 1916.

Once used as a way to preserve American indigenous culture, field recording isn’t just for seasoned pros. Here, our columnist breaks down a few methods for you to try it yourself.

The picture associated with this month’s Dojo is one of my all-time favorites. Taken in 1916, it marks the collision of two diverging cultural epochs. Mountain Chief, the head of the Piegan Blackfeet Tribe, sings into a phonograph powered solely by spring-loaded tension outside the Smithsonian. Across from him sits whom I consider the patron saint of American ethnomusicologists—the great Frances Densmore.

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