(Most of the pics and audio are processed, so a few posts this afternoon taking you to SummerNAMM '08 - then I have a gig this evening. To be continued after that, and over the next couple of days till you have it all. Apologies for my elastic treatment of time!)
Setting the Stage
The scene from Commerce Street, Convention Center, & Renaissance Hotel, Saturday morning.
NAMM Show Entry...
At Anaheim in January, FMIC had a sprawling empire with display space for practically everything (it seemed) from every line – a wide Walk of Wonder through all the brands surrounding an Inner Sanctum with dozens of Custom Shop models and an impromptu performance space. PLUS dealer-meeting/sales room, some break space for FMIC staff, and a club-like live room with stage, big PA, lighting, and video rig across the hall.
Remember Gretsch had three generous walls of display, the glass case for the 6120-125, and a small performance stage itself, all amped up.
In Nashville, this was all compressed to a couple of much smaller meeting rooms and some display space out front. All the marketing managers brought less stuff, selecting only highlights, new introductions, and show specials. Gretsch had two probably 8-foot-wide sections of display, floor to ceiling, plus an extra panel for the 6118-125. This was between Guild and SWR, and across from Charvel and Jackson. Joe made judicious use of this area, and focused attention on Jets, the 6118-125, the evergreen Setzer Sig and 6122-62 Gent, 5122 DCs, the Electro Lap Steel and Rancher Jr. (both show specials).
All the amps were plugged in to invite use, with coil cords cable-tied to their handles to prevent "shrinkage," and there were small standing tables for mini-meets and deal-making as well as some Fender stools where browsers could sit and try out the wares. All quite compact, but functional to the purpose.
Here's the scene outside the FMIC rooms, and then brisk traffic around Gretsch.
The Nashville show in general had a different vibe than Anaheim. It was crowded, but (believe it or not) not nearly as noisy, not quite as flamboyant, and while it was more laid back, it also felt a bit more businesslike.
I'm told informally that in spite of a threatening economy, the show was going well for all the FMIC brands. When times get tough, people do turn to music – and lower-tech musical instruments like guitars and amps provide great satisfaction and high happiness quotient for the dollar, and hold their value over the long haul. Electronic gear subject to early technological obsolescence (or changing musical tastes), not so much.
When the last synth-twinking splicendicing loop-happy techno-compositor has dribbled his last bit, troubadours on guitars will still be telling stories, turning feeling into sound, finding lasting melodies, and moving bodies and hearts.
. 
