ONCE AGAIN, THE NAMM show took place at a strange time — in mid April as a sort of winter/summer combo — and the buzz in the lead-up was (also once again) about the major players that weren’t coming, including Fender, Gibson and PRS. But once we were on the Anaheim Convention Center floor, the story turned from who wasn’t there to who was. And, as it happened, the gear surfing was actually quite awesome.
Acoustic currents came from many directions, including the east (via Martin, Fishman and Ovation), the west (Taylor, L.R. Baggs, Universal Audio, Bedell, Breedlove and Santa Cruz), the north (Godin and Seagull), from across the Pacific (Lava Music, Donner, Ibanez, Takamine, Yamaha and Australia’s Cole Clark) and the Atlantic (Lâg, Lowden). All in all, it sure felt like the acoustic world was well represented.
There were a few obvious undercurrents. Hybrid designs and acoustic electronics continue to be the most exciting developments in the entire guitar sphere. Environmental awareness is growing. As wood supplies dwindle, manufacturers are doing everything they can, from spearheading sustainability initiatives to becoming ever more creative with what’s available. The third theme is money, or the lack thereof in the wake of the pandemic. Every effort is being made to bring affordability along with innovation. For many brands, that sensibility co-existed with a “go big or go home” attitude, as lots of luxury was on offer as well. No complaints
