Miss our NAMM Videos? We have you covered! See them all here in one place to find your next gear obsession.
B3 Guitars Telstar | NAMM 2022
Master builder Gene Baker talks about his new model that pays tribute to two classic designs.
Learn More: https://www.b3guitars.com/phoenix/
Positive Grid Spark MINI Demo | NAMM 2022
Although the new Spark Mini is extremely portable, it packs a lot of punch and a ton of tech.
Learn More: https://www.positivegrid.com/spark-mini
Earthboard EBII | NAMM 2022
Check out a new way to solve your pedal-power problems using a system that’s powered by rare magnets.
Learn More: https://earthboardmusic.com/shop/ols/products/eartboard-ebii
Blackstar St. James | NAMM 2022
Watch a demo of the British company’s new line that offers quite a punch in a lightweight package.
Learn More: https://blackstaramps.com/stjames/
La Bella Olinto Bass | NAMM 2022
The famed stringmakers launch a new 5-string bass that combines comfort with a classic look and feel.
Learn More: https://www.labella.com/bass/olinto-5-string/
Imperial Electrical Zeppelin | NAMM 2022
Designer Ben Fulton pays homage to two seminal guitar heroes with a pair of amp-in-a-box stomps that cover British arena rock and Sunset Strip sludge.
Learn More: https://www.premierguitar.com/videos/namm/imperial...
Manhattan Prestige Basses | NAMM 2022
Affordability and reliability come together in a new collection of low-end thump machines.
Learn More: https://manhattanprestigebasses.com/instruments/
Seamoon FX Funk Machine & Octatron | NAMM 2022
Legendary bassist Neil Jason unveils a trio of bass-centric pedals that offer grinding distortion, blissful chorus, inventive octaves, and more.
Learn More: https://seamoonfx.com/product/seamoon-funk-machine/
Taylor Guitars 724ce & 722ce Demos | NAMM 2022
After discovering a batch of builder’s-grade Koa, Andy Powers went to work on a new line of instruments that sport an airy sound and an ultra-thin finish.
Learn More: https://www.taylorguitars.com/guitars/acoustic/724ce
Black Volt Amplification Earthcaster | NAMM 2022
Born out of a rustic ethos and old-growth wood, the amp builders show off their new line of guitars.
Learn More: https://blackvoltamplification.com/products/earthc...
Gamechanger Audio Bigsby Pedal | NAMM 2022
Watch how this new collaboration with Fender has made the most extreme Bigsby moves much easier.
Learn More: https://gamechangeraudio.com/shop/bigsby-pedal/
Eastman Guitars Juliet Series | NAMM 2022
Designer Otto D’Ambrosio crafted a new series of offset solidbody guitars that balance a modern aesthetic with vintage vibes.
Learn More: https://www.eastmanguitars.com/electric_solid_body
Audient Evo 16 & iD44MKII | NAMM 2022
A pair of feature-packed interfaces that can cover full-band sessions and at-home demos.
Learn More: https://www.premierguitar.com/videos/namm/audient-...
Vola OZ RV TNC | NAMM 2022
These pure shred machines are sleek, loaded with useful features, and give classic body shapes a modern makeover.
Learn More: https://www.volaguitar.com/product/oz-rv-tnc/
GTRS Intelligent Guitar | NAMM 2022
With dozens of amp, cabs, and effects on board, these tech-heavy instruments offer a boatload of options under the hood.
Learn More: https://www.gtrs.tech/
Eventide Dot9 Pedals - NAMM 2022
Watch how a quartet of highly customizable pedals cover everything from spacious ambient ‘verbs to EVH-inspired micro-pitch delays.
Learn More: https://www.eventideaudio.com/
Dreadbox FX | NAMM 2022
Watch this demo of an interesting take on an otherworldly tremolo.
Learn More: https://www.dreadbox-fx.com/
Godin Guitars | NAMM 2022
The company celebrates its 50th anniversary with a signature model from a Canadian rock legend and a powerhouse HSS-loaded double cutaway.
Learn More: https://godinguitars.com/product/session-r-ht-pro-...
Dophix | NAMM 2022
Dig into a new line of Italian stompboxes that include a versatile tremolo, dead-simple dirt boxes, and more.
Learn More: https://www.dophix.it/
Vega-Trem | NAMM 2022
Check out a demo of a high-tech tremolo and get a sneak peak of a newly designed setup for T-style addicts.
Learn More: https://vegatrem.com/product/vt1-ultra-trem-standa...
ProCo Lil' Rat & Lava Coil Cable Demos | NAMM 2022
The classic sound of a seminal stompbox gets shrunk down into a micro-sized box.
Learn More: https://www.ratdistortion.com/product/625/lil-rat-...
Ernie Ball Music Man Tosin Abasi Kaizen | NAMM 2022
Tosin Abasi shares the backstory on his wildly inventive collaboration with Ernie Ball Music Man.
Learn More: https://blog.music-man.com/news/ernie-ball-music-m...
Martin D-28 Rich Robinson Demo | NAMM 2022
Check out the roots rocker’s new namesake dread, which is an exact copy of his father’s flattop.
Learn More: https://www.martinguitar.com/guitars/D-28-Rich-Rob...
Abasi Concepts ēmi Series Guitars | NAMM 2022
Watch Tosin Abasi shred through the highlights of a trio of new models.
Learn More: https://abasiconcepts.com/
Two Notes Engineering Revolt Series | NAMM 2022
The digitally-focused company goes analog with a new line of tube-driven amp sim pedals for guitar and bass.
Learn More: https://www.two-notes.com/en/revolt-guitar/
Versoul Raya 12 & Swan 4 | NAMM 2022
See how the company took one of their standout models and added a wealth of high-end features including a gold-leaf finish.
Learn More: https://destroyallguitars.com/collections/197-versoul
Paoletti Guitars Stratospheric Loft Series SSS & Nancy Loft Series Demos | NAMM 2022
Watch how a very long legacy of Italian winemaking informed the design of a pair of new guitars.
Learn More: https://www.paolettiguitars.com/guitars/series/sig...
Just like guitarists, audiophiles are chasing sound. It may be a never-ending quest.
“What you got back home, little sister, to play your fuzzy warbles on? I bet you got, say, pitiful, portable picnic players. Come with uncle and hear all proper. Hear angel trumpets and devil trombones.”—Alexander DeLarge (Malcolm McDowell) in the film A Clockwork Orange.
We listen to recorded music for enjoyment and inspiration, but few of us expect recordings to rival the experience of live music. Most guitarists know that the average home sound system, let alone Bluetooth boomboxes, cannot reproduce the weight and depth equal to standing in a room with a full-blown concert guitar rig. Also, classical music lovers recognize that a home system won’t reproduce the visceral envelope of a live orchestra. Still, much like guitarists, audiophiles spend huge amounts of time and money chasing the ultimate “realistic” audio experience. I wonder if sometimes that’s misguided.
My exposure to the audio hobby came early, from my father’s influence. My dad grew up in the revolution of home electronics, and being an amateur musician, he wanted good reproduction of the recordings he cherished. This led him to stock our home with tube components and DIY electrostatic hybrid speakers that rivaled the size and output of vintage Fender 2x12s. I thought this was normal.
Later, I discovered a small shop in my hometown that specialized in “high end” audiophile gear. They had a policy: No sale is final until you are completely satisfied. I became an almost weekly visitor (and paying customer) and was allowed to take equipment home to audition, which was dangerous for a young man on a low budget. It was through this program I started to understand the ins and outs of building a cohesive system that met my taste. I began to pay much more attention to the nuances of audio reproduction. Some gear revealed a whole new level of accuracy when it came to acoustic or vocal performance, while lacking the kick-ass punch I desired of my rock albums. I was seeking reproduction that would gently caress the sounds on folk, classical, and jazz recordings, but could also slay when the going got heavy. This made me a bit of an odd bird to the guys at the audio shop, but they wanted to please. With their guidance I assembled some decent systems over time, but through the decades, I lost interest in the chase.
Recently, I’ve begun perusing online audiophile boards and they seem oddly familiar, with tube versus solid-state discussions that might feel at home to guitarists—except the prices are now beyond what I’d imagined. For the most part, they mirror the exchanges we see on guitar boards minus the potty-mouth language. Enthusiasts exchange information and opinions (mostly) on what gear presents the widest soundstage or most detailed high-frequency delivery, all in flowery language usually reserved for fine wines.
Speaking of whining, you’ll rethink your idea of expensive cables when you hear folks comparing 18", $1,700 interconnects for their DACs. Some of the systems I’ve seen are more costly than an entire guitar, amplifier, and studio gear collection by a serious margin. Mostly, the banter is cordial and avoids the humble-bragging that might go along with the purchase of a $10,000 set of PAF humbuckers. Still, I have a lack of insight into what exactly most are trying to accomplish.
If you’ve ever worked in a big-time studio, you know that the soundscape blasting out of huge monitors is not what most of us have in our homes. My experience rewiring pro-studio patchbays is that less emphasis is placed on oxygen-free, silver-plated, directional cables than the room treatment. I’ve found myself wondering if the people on those audio boards—who have spent many tens or even hundreds of thousands of dollars on their home systems—have ever been in a studio control room listening to music as loud as a 28,000 horsepower traffic jam of NASCAR racers. That might be an eye-opener.
One of my takeaways is that even though music recording began as an attempt to reproduce what actually happens in a room, it hasn’t been just that for a long time. With all our effects and sonic wizardry on display, recording is like playing an instrument itself, and much more complex. This is not a new revelation to Beatles fans.
What amazes me is that both audiophiles and guitar fanatics pursue the sounds we hear on recordings for differing reasons and with subjective results. It’s a feedback-loop game, where we chase sounds mostly exclusive to the studio. So, how do we determine if our playback is accurate? Will we ever be satisfied enough to call the sale final?
I’m not convinced, but just the same, I’ll continue my own search for the holy grail of affordable, kick-ass sound that still loves a folk guitar
The series features three distinct models—The Bell,The Dread, and The Parlor—each built to deliver rich, resonant acoustic sound with effortless amplification.
Constructed with solid Sitka spruce tops and solid mahogany back & sides, the Festival Series offers warm, balanced tone with incredible sustain. A Fishman pickup system, paired with hidden volume and tone control knobs inside the sound hole, ensures seamless stage and studio performance.
Grover 16:1 ratio tuners provide superior tuning stability, while D’Addario strings enhance clarity and playability. Each guitar comes with a heavy-padded gig bag, making it a perfect choice for gigging musicians and traveling artists.
Key Features of the Festival Series Guitars:
- Solid Sitka Spruce Top – Provides bright, articulate tone with impressive projection
- Solid Mahogany Back & Sides – Adds warmth and depth for a well-balanced sound
- Fishman Pickup System – Delivers natural, high-fidelity amplified tone
- Hidden Volume & Tone Control Knobs – Discreetly placed inside the sound hole for clean aesthetics
- Grover Tuners (16:1 Ratio) – Ensures precise tuning stability
- D’Addario Strings – Premium strings for enhanced sustain and playability
- Heavy-Padded Gig Bag Included – Provides protection and convenience for musicians on the go
Kirk Hammett has partnered with Gibson Publishing to release The Collection: Kirk Hammett, a premium hardcover coffee-table photo book where Kirk tells the stories behind his rare and collectible instruments.
“I am thrilled to announce the launch of The Collection: Kirk Hammett. I’ve worked diligently on this curated collection of vintage and modern guitars for the book. I feel the book captures the rich history and artistry behind each of these unique and rare instruments. Every picture tells a story and thanks to Ross Halfin and his exceptional photography, every picture in this book is worth a million words! This book could not be possible without the help of Gibson, so I’d like to thank them for making my passion for Greeny, and guitars a reality. I hope all of you enjoy this journey as much as I did.”
“It’s exciting the time has come to release The Collection: Kirk Hammett by Gibson,” adds Cesar Gueikian, President and CEO of Gibson. “We have been working on this project with Kirk for years now, and I had the opportunity to work closely with Kirk on the composition of the collection for the book. It was a thrill to put this together and it took a village to get it done! I hope everyone appreciates the work that went into this book and enjoys every story behind the guitars.”
The Collection: Kirk Hammett, Custom Edition is limited to just 300 numbered copies signed by KIRK HAMMETT and comes in a huge 19 x 14.5” (490 x 370mm) presentation box featuring custom artwork and an outstanding case candy package. In addition to the large-format 17 x 12” (432 x 310mm) hardcover version of the book with a stunning lenticular cover, the boxset includes a frameable 16 x 11.6” (407 x 295mm) art print of a Ross Halfin portrait of KIRK HAMMETT signed by both Halfin and the Metallica guitarist. Other case candy includes an Axe Heaven miniature replica of Hammett’s 1979 Gibson Flying V with case and stand, an exclusive pick tin complete with six Dunlop® Kirk Hammett signature Jazz III guitar picks, and a Gibson Publishing Certificate of Authenticity.
Explore The Collection: Kirk Hammett book HERE.
Here’s Chris Martin surrounded by a group of guitars created to commemorate his family’s 192-year history.
The home organ once ruled the world, only to go extinct. Is the acoustic guitar next?
When I was growing up, my Aunt Kate had a home organ in her living room. Back then, home organs were everywhere. They were sold at malls across America, and were a staple of post-WWII households. Brands like Lowrey, Magnus, and Hammond dominated the market. Lowrey, a division of Norlin (which eventually acquired Gibson), was especially massive. In fact, in a year where Gibson generated $19 million in revenue, Lowrey pulled in a staggering $100 million.
But like all booms, the home organ’s success was temporary. By the 1980s, it had gone bust. A huge contributing factor was the entrance of Casio: a more affordable, portable alternative that rendered the home organ obsolete.
Thankfully, the acoustic guitar has always had portability on its side. I’ve witnessed three major acoustic-guitar booms in my lifetime: the folk and folk-rock explosion of the late ’50s through the late ’70s, the MTV Unplugged resurgence, and most recently, the COVID-era surge.
The ’80s, however, were a tough time for acoustic guitar builders. That decade belonged to pointy electric guitars and hair metal. But the acoustic guitar came back. And unlike the home organ, it has not only endured, but thrived.
My great-grandfather capitalized on the demand for mandolins in the early part of the 20th century. We also tried to make and sell banjos. In addition to that, we made archtops, and although they weren’t as popular as some other brands, we did borrow the 14-fret neck.
While we were making 12-fret guitars with steel strings (the real benefit of that era was a dramatic improvement in the quality of steel strings), we discovered that many players wanted more access to the body and a slimmer profile. Starting with a 000-size guitar, we quickly converted many of our models to the new modern neck design, most notably our dreadnought model. The timing was right, as the dreadnought became the go-to guitar for country music. The steel-string flattop would lend itself to a fantastic melding of styles and types of music from around the world (and around the corner), becoming the driving voice of not just country, but also folk and many other genres.
Baby boomers (myself included) grew up with the sound of the acoustic guitar, and playing the music of our youth remains an essential part of any enthusiast’s repertoire. Our generation is not only large but also living longer, thanks to modern medicine and healthier lifestyles. Many of us have accumulated wealth, and for those of us in the business of making and selling guitars, that’s good news.
I mean no disrespect when I say, “Thank goodness I wasn’t born into the world’s most famous accordion-making family.” Accordions had their day, just as the home organ once did. Interestingly, accordions still have a niche following, whereas the home organ is now a historical artifact. While home organs were, for a time, all the rage, I doubt that even at the peak of their popularity anyone owned more than one. Quite a different situation when it comes to guitars and guitar collecting.
I do wish I could share with my ancestors how popular the guitar continues to be.
Every so often, someone writes an article with a headline like, “Is the Guitar Dead?” My answer is simple: no.
As long as we boomers—and everybody else—keep playing.
