Night One -- it's close to 10 pm local time. I'm finally tucked neatly away in my hotel room after a day of wandering the show floor and a night of cavorting between the two main convention hotels. The night's entertainment is not nearly finished. It's just me who has thrown in the towel for the day. I'm tired from a week of traveling and training.
If you've never been to a national trade show, coming to NAMM can be an overwhelming experience. Walking onto the Anaheim Convention Center floor itself is an example of sensory overload to the n'th degree. Passing through the doors, you are immediately assaulted by a caucaphony of sound unlike anything you have heard before in your life. Low frequency rattles your bones from all directions as the midrange of vocal mics pierces you, calling you everywhere you turn.
As you gain your auditory bearings, your eyes focus in on the mass of rock-n-roll humanity that is coursing it's way though the aisles of the convention center. Keep in mind that this is not just any segment of the social substrate -- This is rock and f'ing roll! Looking down the aisles, it is far too easy to conclude that many of the people you see are old enough to have actually invented the genre. Unfortunately, the majority of these individuals perpetuate the stylings of the era from which they have evolved - aka the 80's.
It's very easy to turn this observation into a game. Try this -- Guess the age of the guy with the bandana. Oldest guy wins. Leather pants score bonus points...
On to more important topics...
Because it was still a work day for me, I actually spent far too little time examining wares and far too much time putting out fires in my own job. That being said, I can tell you that the Taylor exhibit acts as an acoustic oasis in the desert of musical mayhem - the instrumental offering, a date palm ready and willing to feed your instrumental hunger.
Of the few instruments I had the opportunity to sample, the 12 fret GC Nylon, *felt* like an old friend welcoming you home. Now, to be honest, I couldn't hear it when I picked it up to play due to the din of the show floor. However, I Will tell you that the Tobaccoburst finish is absolutely drop dead gorgeous, and the short scale neck felt so incredibly natural and easy playing that I think a Les Paul player would have wet dreams over this thing given the opportunity to play it. Yes, it is that good. If that wasn't enough, the fretboard inlay is just so doggone cool it will harken you back to the early days of guitar craftsmanship. Musicality aside, this guitar felt in my hands like an old friend welcoming me back after a long journey. I can't wait to hear the stories it has to tell.
My goal tomorrow is to get to the booth early enough to spend a little quality time with the new models and revamped designs. I also hope to get some detailed photos. I will tell you this -- if you are a true Taylor fan and quasi-historian, it would behoove you to highlight 2012 as an integral year in Taylor Guitars' history. I say this because, thanks to the creative juices of Bob Taylor, Andy Powers and the rest of the team, we are seeing some absolutely drop dead gorgeous looking guitars that exhibit both a keen eye for the future while exhibiting a healthy respect for our musical heritage. My expectation is that they will sound as inspiring as they look.
Coming Friday: Audio Impressions...
EDIT: clarification and syntax corrections... EDIT II - resolving poor proof reading.
