It’s the opening day of Winter NAMM 2017, the music gear event of the year for most musicians I know. Vendors roll out their latest drool-worthy instruments and gear. And there’s a name for the affliction many musicians emerge from NAMM with – Gear Acquisition Syndrome (GAS).
Umm… Gear Acquisition Syndrome?
Yep, it’s a thing. GAS’s key symptom is a relentless drive to grab your wallet and upgrade all your instruments, gear, and accessories to the shiny new hotness you’ve just played with. When it comes to GAS afflictees, I’m pretty much a poster child – so it’s a good thing that I’m not attending in person this year. Restraining my wallet hand is getting easier with age, but from early signs we may need medics at NAMM this year. It’s gonna be a gear acquisition syndrome outbreak!
Here’s my first two candidates for ‘wallet magnet of the week’.
I always look forward to January, and my annual trip to the NAMM show in Anaheim to gawk at the cutting edge of music hardware (and software). When I realized my schedule wouldn’t get me to NAMM this month I was bummed, but kept my ears and eyes peeled online. Despite no significant time on the show floor this year, there were a few announcements and developments at NAMM 2015 that still caught my attention. It should come as no surprise that I’m rather focused on effects & amps for guitar & bass. Here’s my video post-NAMM wishlist, with commentary.
July was an interesting month for listening. I was a bit over-obsessed with French pop/hip-hop and the grandiose new release from Aussie prog-rock uberheroes Karnivool, but still fit in some old Beastie Boys and a spattering of west-coast American hipster pop fluff. Makes a fun mix for a bright summer’s day.
I’m going to the NAMM show this year, for the first time in almost 20 years. I’ve been saying 12 (when I last moved from Carpinteria, and its comfortable, less-than-8-hour drive to Anaheim), but doing the math it’s been 20, as I didn’t attend NAMM any of the years I lived here last, either. Craziness. In case you’re confused, NAMM stands for “National Association of Music Merchants”, and is *the* biggest music conference of each year. To be looking back at 2 decades of avoiding NAMM as a constantly-working musician is, frankly, a bit strange to me. Maybe even a bit embarrassing, honestly.
Yeah, all the cool kids call them ‘beats’ now, but I never got down with the shoe/kicks vibe either. To me, headphones will always be cans (thanks for that, studio life), and an integral part of my life both personally and professionally. Obviously a clear, uncolored set of cans/headphones are great for studio work so you can translate your mixes/etc to the real world more effectively, but I’ll admit for recreational listening I tend to go for a little more ‘oomph’ in the low end. Having tried a TON of headphones (and headsets) over the years, I’m slowly settling down to three pairs (plus one ‘wildcard’). Here they are, why I still use them all regularly, and their pros/cons from my perspective.
Beats Wireless – General Listening
Somewhere between the Pro & Studio and the Solo models, the Beats Wireless cans have a great balance of fidelity with some fat low end for a rich listening experience. Although the Studio model is much more accurate, there’s just something about the sound of these that I’ve come to love, they tend to warm up the bass guitar range (my personal focus area of the spectrum) and have a pleasing high end, not too brittle or crisp. But the convenience is the best part, they’re so comfortable and easy to use without the connecting cable that I often forget I’m wearing them, or need to stay within range of my phone/tablet/laptop.