NAMM NOTES
Posted: Sat Jan 17, 2009 11:17 am
On to the topic.
We arrived at NAMM at noon on Thursday. The RIC booth (where I've been spending 90% of my time) is slightly different, but not in terms of product. There is some slatwall painted in black, upon which are mounted product groups (i.e., the "Vintage" line are mounted on the wall by the conference room). But most of you are aware of this already.
There's no real buzz about the "discontinued" models. So far, RIC has seen no decrease in workload, and in fact, it looks as though orders might be slightly up. Working two years ahead does have its advantages. There have been no order cancellations, according to John Hall, and about three times an hour, somebody comes by wanting to be a dealer, only to be told that the factory is working at capacity and applications for dealerships are not being accepted.
I saw some intriguing things at the factory yesterday morning, and got to play Chris Squire's original RM for a few gentle minutes. It's in for a refret. I have never felt a slimmer (front-to-back) Rick bass neck...and me not primarily a bass player...so I suppose if you've got any questions that are not too dimensional, I could help. It's in beautifully-patinaed shape.I did not plug it in (despite the presence of a Transonic 200 in the next room!), but the neck is faaaassst, though action is about what you'd expect with a very thin neck and roundwound strings (don't know what brand or weight...
The switch over to UV-curing of all finish steps except color (which doesn't need it) is very close to complete, and most of the instruments shown at NAMM sported UV-cured 100% solids clearcoats, as well as UV-cured grain filler and sealer. Advantages are primarily that there is no VOC (no solvents) and undetectable shrink-back. I met briefly with the UV systems guy while there and could possibly be putting one into my own shop for new finishes and touch-ups.
NAMM's a hoot for a newbie like me (only my third time) addicted to people watching. The swag is way down this year for just about everybody...last year, Gretsch Good Guy and Marketing Manager, Joe Carducci, treated Juliana and I to some great Gretsch Gear (a baseball jersey for me, a tank top for her); this year Joe was handing out lanyards for passes...Fender has clamped down, responding like any corporate behemoth would to bad economic tidings--with a knee-jerk overreaction. Word is that Gibson sales in Japan (a sore point with their Marketing guys for some time) was down 90% last year, which number has little to do with the economic crisis and lots to do with a general crisis of confidence with Gibson in Japan and the way the Japanese have been treated in the past. Gibby's booth is actually open to show grunts like yours truly this year--a sure sign of the democracy of desperation. The last couple of years, you neede special passes or an escort, which I was lucky enough to have last NAMM, only to find much ado about a buncha reissues as Gibby got onto the Vintage Bandwagon too late...
The Rick guys and gals materialized yesterday afternoon from points near and far. Near saw us graced with the presence of Paul who's-yer-father A, Joey and Diane Vasco, Gary Clauson, and Dane Wilder; far saw Graham where's-yer-bar Griffiths, John Biscuti, and Chris Clayton. Apologies to any whom I've forgotten momentarily; I spoke to lots of people and it's the early hour and bad memory that does this, not any intention to slight personally.
Brian Wilson stopped by yesterday and I was finally able to get a photo with him after all these years, which made Juliaa a bit envious, since she picked yesterday to go shopping. (Brian's "What I Really Want for Christmas" is on rotation at the house, year-round...he lit up when I mentioned her love of this track).
Today, I'll wander and take some photos.
We arrived at NAMM at noon on Thursday. The RIC booth (where I've been spending 90% of my time) is slightly different, but not in terms of product. There is some slatwall painted in black, upon which are mounted product groups (i.e., the "Vintage" line are mounted on the wall by the conference room). But most of you are aware of this already.
There's no real buzz about the "discontinued" models. So far, RIC has seen no decrease in workload, and in fact, it looks as though orders might be slightly up. Working two years ahead does have its advantages. There have been no order cancellations, according to John Hall, and about three times an hour, somebody comes by wanting to be a dealer, only to be told that the factory is working at capacity and applications for dealerships are not being accepted.
I saw some intriguing things at the factory yesterday morning, and got to play Chris Squire's original RM for a few gentle minutes. It's in for a refret. I have never felt a slimmer (front-to-back) Rick bass neck...and me not primarily a bass player...so I suppose if you've got any questions that are not too dimensional, I could help. It's in beautifully-patinaed shape.I did not plug it in (despite the presence of a Transonic 200 in the next room!), but the neck is faaaassst, though action is about what you'd expect with a very thin neck and roundwound strings (don't know what brand or weight...
The switch over to UV-curing of all finish steps except color (which doesn't need it) is very close to complete, and most of the instruments shown at NAMM sported UV-cured 100% solids clearcoats, as well as UV-cured grain filler and sealer. Advantages are primarily that there is no VOC (no solvents) and undetectable shrink-back. I met briefly with the UV systems guy while there and could possibly be putting one into my own shop for new finishes and touch-ups.
NAMM's a hoot for a newbie like me (only my third time) addicted to people watching. The swag is way down this year for just about everybody...last year, Gretsch Good Guy and Marketing Manager, Joe Carducci, treated Juliana and I to some great Gretsch Gear (a baseball jersey for me, a tank top for her); this year Joe was handing out lanyards for passes...Fender has clamped down, responding like any corporate behemoth would to bad economic tidings--with a knee-jerk overreaction. Word is that Gibson sales in Japan (a sore point with their Marketing guys for some time) was down 90% last year, which number has little to do with the economic crisis and lots to do with a general crisis of confidence with Gibson in Japan and the way the Japanese have been treated in the past. Gibby's booth is actually open to show grunts like yours truly this year--a sure sign of the democracy of desperation. The last couple of years, you neede special passes or an escort, which I was lucky enough to have last NAMM, only to find much ado about a buncha reissues as Gibby got onto the Vintage Bandwagon too late...
The Rick guys and gals materialized yesterday afternoon from points near and far. Near saw us graced with the presence of Paul who's-yer-father A, Joey and Diane Vasco, Gary Clauson, and Dane Wilder; far saw Graham where's-yer-bar Griffiths, John Biscuti, and Chris Clayton. Apologies to any whom I've forgotten momentarily; I spoke to lots of people and it's the early hour and bad memory that does this, not any intention to slight personally.
Brian Wilson stopped by yesterday and I was finally able to get a photo with him after all these years, which made Juliaa a bit envious, since she picked yesterday to go shopping. (Brian's "What I Really Want for Christmas" is on rotation at the house, year-round...he lit up when I mentioned her love of this track).
Today, I'll wander and take some photos.
.....Glad everyone is having a good time nonetheless, and I send hello's to all from a freezing Shenandoah Valley... 0 F this morining when I woke up... 
