![]() ![]() ![]() At some point, an equilibrium will be reached where both channels will co‑exist, even if it means that the retail experience will be different from how it is now. The on‑going battleground between ‘brick & mortar’ retail and Internet business is still bitterly being fought out. My sense, at the beginning of 2019 is that there is a degree of consolidation in design, manufacturing, marketing and distribution. ![]() For up‑and‑coming musicians who may not know any different, though, the current‑day smorgasbord of choice is phenomenal and, although the value‑for‑money equation on some equipment can be debated, the benefits are there to be discovered and exploited. One day, soon, digital will be the default and vintage gear will become a bit like vinyl records in there will be a market for it, even if it ultimately becomes a niche for nerdy specialists. The advantage for CRAVE Guitars and many other vintage enthusiasts is that we generally don’t need to worry about learning the operational demands and subtleties of this new‑fangled complex digital stuff and we can stick with what worked for us when we started out, complete with all its charming analogue idiosyncrasies (?!?!). There is still some way to go before all the components in a guitarist’s signal chain provide everything that the working professional musician needs for writing, rehearsal, live and recording settings. At some point, even the most hardened of luddites will be lured to make the jump either by the metaphorical lure of the carrot or the fear of the stick. With the influx of ever more convincing digital inventions, one really does have to wonder how long analogue will remain the force it has been up to now. It is hardly a surprise that digital continues to make significant inroads into the analogue domain that has been the bedrock for so many generations of musicians across the globe. It is interesting that some of the more contentious technologies that were being used to reposition Gibson as a lifestyle company are now likely to be jettisoned in order to re‑establish confidence about, and a focus on, what really matters to their customers. Let’s hope that good intentions translate into achieving the right balance between quality and price, along with appropriate innovations alongside traditional instrument manufacturing. It was reassuring to see Gibson back at NAMM after their absence in 2018 and their new CEO is making all the right noises about what to expect from the company. There were few ground‑shaking announcements at the convention but there was the usual excitement about shiny new gear from established brands. ![]() There has been some progress since this time last year but not as much as many commentators might have wished.Įven though I wasn’t at the event, Winter NAMM 2019 held at the end of January in Anaheim, California saw a lot of activity and relatively good business was done. There is cautious optimism out there within the context of an unpredictable and challenging operating environment. While the general shrinking and decline of the ‘business’ continues well into the post‑recession era, the core elements seem in fairly good health overall. In the grand scheme of things, the guitar‑centric sector of the wider music industry is a relatively small but vibrant arena. One beneficial consequence is that this is a shorter tome than some. I don’t have any particular theme for this month, so apologies in advance are probably due for what seems to be a generally incoherent rambling round up of various bits and pieces thrown together. I trust that 2019 is treating you all well as we begin the move from dreary winter into nascent springtime. As the great Jimi Hendrix once proclaimed, “Music is a safe kind of high”, so I’m happy to admit my perennial affliction. Hello again guitar fans and welcome to anyone else who may be curious about the big wide world of guitar addiction and obsession. ![]()
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