1 Proteus 3 weeks ago I've been following NAMM from afar. Home base, of course, is Ric12's Gretsch-centric coverage.Alongside that, I've checked out coverage from various and sundry. By surveying indefatigable purveyors' ongoing (and now wrap-up) reports, it's been fairly easy to hone in on the coverage most relevant to me at the moment.NOTE: those averse to my over-long-windedness and tendency to contextualize to the point of tangential clouding should skip the next several paragraphs and go to the double line far below. Thank you for your cooperation.) Besides guitars, as most of yall know, my other interests are synths and pedals - both areas where technology and creativity continue to create genuinely new stuff that might make sounds yet unheard by human ear. One site claimed to cover every new pedal at NAMM; I don't know if they succeeded (I'll be checking back). I've pretty much glazed over on gain, drive, and distortion - so I could ignore those. And I think I'm pretty well up to date on mainstream and boutique offerings in modulation, delay, and reverb - so something new and sufficiently different in those areas will be immediately obvious. It's at the freaky and experimental end of continuum that I'm having the most fun these days. Also, devices which solve device-management problems and provide easier or new ways for pedals to work with each other are increasingly compelling. Across these categories, on one hand I 'm always up for something new; on the other, I'm always half-afraid someone's going to come out with something that creates a new paradigm, or pedals so compelling I'll be gnawed by acquisitive lust till I can get my hands on them. I don't think that happened - though Andy Martin's wrapup of his favorite NAMM pedals did point out a couple whoah!-cool! devices. But no one has yet built the two or three killer devices I have in my head (though one pedal nibbles around the edges), so there's still time for me to get out there with an Idea That Works. (Theoretically, of course. I'm no pedal-builder, and collaborations between strictly-idea guys and actual builders are generally resolved in favor of the guys with the tech knowledge and the soldering irons.)Among synths, the action over the last few years has been in the Euro-rack modular sphere (enticing, but more expensive than pedals and a rabbit hole I'm just not going down) and modernized retro analog subtractive synths. I sailed with that boat in the 70s, and nothing I've heard from the new ones makes me want them. I'm looking for the new and next transformative synth tech, and I haven't read about any such from the show. (Was the Waldorf Kyra a no-show?) While it seems to have become passé overnight among the synth hipigentsia, I'm still more excited about iOS synthesis than anything in the hardware world. That's where I'm giddily submerged and nourished with tones and textures. (Also the price of entry for apps is so freakishly low that no new product can cause can't-afford-it pain.) Which brings me to guitars. As I already have (figuratively) billions and billions of guitars, I haven't gone out of my way to find something new that will stun my buns and make me want it. Still, a few (Broadkaster Jr, Steve Wariner Nash Gent, Electric XII, maybe Acoustasonic.) have made their way to my lust-list.While I'd have thought it unlikely that any acoustic guitar would amaze my mouth open, the Acoustasonic does seem a significant advance in the state of that particular art. Then the good folks at Reverb drew my attention to this one, which flat drops my jaw. I don't know if this is anything I need (or even want, since I'm not a fan of effects other than compression and reverb on acoustic instruments) - but it sure represents the kind of genius that's obvious only after someone does it. And it seems to have been executed not only brilliantly, but successfully. Hearing the description, I expected a dancing bear: sure, it's a trick, but so what? Hearing it, I was as gigglingly amazed as Reverb's guy that the bear is actually ready for the ballet.Check it out!