Aweek before TheNAMM Show, JoeLamond, the orga-nization’s presi-dent and CEO,

announced that pre-registra-tion numbers were down 1 per-cent from last year’s meeting— a show with record-breakingattendance. Which raised thequestion: With a recession ineffect, how many of those peo-ple would actually show up?

Quite a few, it turned out.

The 2009 NAMM convention,held from Jan. 15–18 at theAnaheim Convention Center

in Anaheim, Calif . , endedwith f inal at tendance of85,799 registrants, a 3-percentdrop from last year. It alsoattracted 1,505 exhibitors.When the doors opened onThursday morning, the showfloor bustled, and that energycontinued through Saturdayafternoon. Many exhibitorsnoted a severe slowdown intraffic on Sunday, the last dayof the show, but still reportedstrong overall attendance.

NAMMSTATSThe decrease in overall atten-dance from last year’s show,

with a total of 85,799 registrants.

The decrease in exhibitorsfrom last year’s show, with

a total of 1,505.

The increase in atten-dance at NAMM

University Breakfast Sessions fromlast year’s show, with 3,652 totalBreakfast Session attendees.

MARCH/APRIL 2009 I MUSIC INC. I 45

NAMM drawssurprisingly

robustattendancedespite the

recession

THE NAMM SHOW 2009 I BY ZACH PHILLIPS, JENNY DOMINE, AARON COHEN & MARY WILCOP

1. Contemporary Music’s Jason DiMambro(left) and Menzie Pittman; 2. Rockley Music’sLiane and Tobin Rockley; 3. Daisy Rock’s TishCiravolo with Gene Simmons; 4. David Benoitperforms at the Roland booth; 5. From left:Yamaha’s Motoki Takahashi and Tom Sumner,Alicia Keys, and Yamaha’s Mitsuru Umemuraand Rick Young; 6. Chicago Music Exchange’sScott Silver; 7. From left: Owensboro Music’sGordy Wilcher, Tech 21’s Dale Krevens andNAMM’s Joe Lamond; 8. Peter Erskine per-forms at Samson’s party; 9. Dolphin Music’sJason Tavaria; 10. Marky Ramone; 11. TheJägermeister Girls at the Peavey booth; 12.DBZ Guitars’ Dean Zelinsky (center) with theDBZ Girls; 13. Doyle Dykes performs at theTaylor booth; 14. Kerry King shreds at theMarshall breakfast; 15. NAMM’s ChipAverwater (left) and Joe Lamond

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“I thought it was worth theexpenditure, the time, theeffort, the sweat, the tears —I’m sure there was some bloodin there, too,” said Mike Belitz,CEO of Ult imate SupportSystems, with a laugh.

First-time exhibitor DBZGuitars, led by guitar industryveteran Dean Zelinsky, men-tioned visiting with qualityattendees. “It’s still Friday, butwe’ve been busy,” he saidhalfway through the show.“And more importantly, we’veseen very important [atten-dees]. It seems the interna-tional community came out indroves — Germany, the U.K.,Australia, South America.”

Music retailers seeking waysto survive in the tough markethit the NAMM University ses-sions in full force. The NAMMU. Breakfast Sessions boastedan 11.4-percent increase in totalattendance from last year.

“Our members once againdemonstrated their determi-nation and persistence as thebest and brightest fromaround the world gathered toexperience four days of newproducts, NAMM University

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1. Shure’s Chad Wiggins; 2. Allen & Heath’sMichael Palmer; 3. Roland’s Eric Klein (left)and Michael Barrett; 4. beyerdynamic’s Paul(left) and Dana Froula; 5. Blue Microphones’Blake Jarsky; 6. Solid State Logic’s DamienEgan; 7. Core One Creative’s Ted and KimmyMcCann; 8. TC Electronic’s Uffe KjemsHansen (left) and John Maier; 9. StageNinja’s Brent Eskew; 10. From left: Jensen’sBrian Campanella, Noreen Cravener and OrinPortnoy; 11. From left: Harman’s Paul Faby,Randy Garrett and Michael MacDonald; 12.IK Multimedia’s Enrico Iori; 13. Loud’s PyotrBelov (left) and John Boudrea; 14. EssentialSound Products’ Joseph Webb, Tony Smith,Michael Griffin and Vuyani Wakaba; 15.Ultrasone’s Paul Taylor; 16. Waves’ ShacharGilad (left) and mixing engineer TonyMaserati; 17. Samson’s Mark Wilder; 18.From left: Steinberg’s Sam Varma, KylePainter, Matt Schuler, Jeff Davis and MattHepworth; 19. Olympus’ Ray Acevedo andAmy Leslie; 20. From left: Musicorp’s GeorgeKing, Scott Reutenauer and Eric Miller; 21.Auralex’s David Paxton (left) and Tim Martin;22. American Audio’s Tom Freret; 23.Sennheiser’s Ben Escobedo; 24. From left:Audix’s Lofty Whitaker, Desiree Gregg, CindyBigeh and Cliff Castle

courses, networking and greatlive music,” Lamond said.

Some exhibitors scaled backto take a more cautiousapproach to the show. Yamahaheld off on its annual dealerconcert, opting instead to host ajam-packed press conferencewith Alicia Keys to introduce itsnew AvantGrand digital piano.Press conferences also quieteddown by the third day of theshow. Still, there were someproduct innovations, includingYamaha’s AvantGrand andRoland’s new V-Piano.

“I thought that in light ofthe current economic doomand gloom portrayed by themedia that The NAMM Showwas remarkably upbeat, partic-ularly the school music sector,”said George Quinlan, presidentof Quinlan & Fabish in BurrRidge, Ill. “Times like thismake the survivors stronger.”

AMPED UP

Crowds fil led the aislesaround Paul Reed Smith’s

tented booth on the second dayof the show. Famous axe-wield-ers, such as Adrian Belew andMark Tremonti, stood along-side Smith himself, but thecrowd wasn’t there for celebsightings. They wanted to be

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1. NAMM U.’s ‘Design Your Retail Store on aDime’ panelists; 2. Alesis’ Gregg Stein (left)and artist Mike Phillips; 3. Audio Technica’sDavid Marsh (left) and Jeff Simcox; 4.Kaman’s Paul Damiano (left) and HeidMusic’s Paul Heid; 5. From left: George L’sSandy Richter, Susie Merritt and LeesaGifford; 6. Behringer’s Michael Deeb (left)and Uli Behringer; 7. Avant Electronics’ KenAvant; 8. Gem Sound’s George Dertinger(left) and Ronald Stewart; 9. Dave Mustaine;10. Sabine’s Joe Nguyen; 11. Peterson’s PatBovenizer; 12. Hercules’ Winn Keaten; 13.From left: Korg’s Jerry Kovarsky and SeikiKato with Herbie Hancock; 14. Yamaha’sHirofumi Osawa; 15. From left: Music Sales’Joey Lyons, Phil Smith and Steve Wilson; 16.From left: Hal Leonard’s Larry Morton, DavidJahnke, Doug Lady and Mike Hansen; 17.From left: Winfall Music’s Ed Nervi, CindyKane and Art Rudder; 18. Marlo Plastic’sBecky (left) and Art Livingston; 19. Sher’sMichael Aragon (left) and Chuck Sher; 20.Kjos’ Karl Kjos (left) and David Gereghty; 21.The Dean Girls

the first to glimpse PRS’s newtube amps and acoustic guitars.

Designed in collaborationwith amp builder Doug Sewell,PRS’s tube amps pay homageto classic American and Britishsounds. Including the Dallas,Blue Sierra and Original Sewellmodels, they’re decidedly high-end pieces, with MSRPs begin-ning around $3,500.

“Doug Sewell has developedwhat I think is an extraordi-nary-sounding amplifier, andit’s what I am currently using,”Smith said. “The move isn’t somuch about diversifying into anew segment as it is aboutoffering musicians a beautiful-sounding amp with a differentkind of sound.”

The acoustics, the AngelusCutaway and Tonare Grandmodels, are also boutique items,with MSRPs hovering around$5,300. German spruce topsand rare Peruvian mahoganynecks come standard.

PRS wasn’t the only com-pany to expand into new terri-tory at NAMM. Audio andrecording supplier TCElectronic showed its first bassamplifier offering with theRebelHead450 head (MSRP:$1,395), RebelStack cabinets

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1. Alfred’s Doug Fraser (left) and AntonioFerranti; 2. Gator’s Mark Stone; 3. From left:Carl Fischer’s Rachelle Gayer, Steve’sMusic’s Norm Zimmerman, and CarlFischer’s Anne Sobel and Heidi Vanderlee; 4.Boss’ Paul Youngblood; 5. Mel Bay’s ChuckPhillips (left) and Bryndon Bay; 6. From left:D’Addario’s John and Peter D’Addario, BrianVance, and Rob D’Addario; 7. Markbass’Peter Murray (left) and Marco de Virgiliis; 8.Couch Guitar Straps’ Dan Perkins; 9. Fromleft: Major Music Supply’s Jim Bruno, MikeMulqueen and Travis Woodland; 10. Ibanez’sPaul Specht (left) and Mac Muranaka; 11.Peavey’s Frederick Poole (left) and TimJauernig; 12. From left: John Pizzarelli withJazzKat’s Vincent Giardina, Don Lawrenceand Marty Abbate; 13. Kaman’s Lloyd Stark;14. Rep Marc Ingber; 15. WattGrinder’sDarryl Ford; 16. Rockano’s Mike Hrano (left)and Neil Harris; 17. Ricky Skaggs (left) withPRS’s Paul Reed Smith; 18. Saga’s LillianaUrosevic; 19. Voyage-Air’s Harvey Leach(left) and Adrian Bagale; 20. SparrowGuitars’ Billy Bones (left) and JordanEshpeter; 21. The Music Link’s Levi Oliphant(left) and Aaron Chaiclin

(MSRP: 210, $695; 212, $845)and RebelControl (MSRP:$195). Each piece combines toform a versatile bass rig.

“When we started lookingat combining our technologiesin processing, amplificationand speakers into instrumentampli f icat ion, bass ampsseemed a natural fit,” saidJohn Maier, CEO of TCElectronic. “It’s also a smaller,more focused market and cus-tomer base that we felt wecould get our arms around andreally create something new.”

Guitar and bass amps, infact, proved to be the focus ofseveral major NAMM events.Marshall kicked off the showwith a meeting dubbed “theloudest breakfast of your life.”There, Slayer’s Kerry King andWhitesnake’s Doug Aldrich

demoed the company’s newMG4 series amplifiers. Thesesolid-state amps representMarshall’s entry-level and fea-ture seven new combos and a100-watt head. They range inpower from 10–100 watts.

Soon after Marshall’s meet-ing, Markbass hosted a pressconference at i ts booth tolaunch several new wares.Among them was the MoMarkTester bass amp system. It letsplayers choose their poweramp and pre-amp, EQ, andmaster modules, along with arange of other options.

MARCH/APRIL 2009 I MUSIC INC. I 49

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1. Hamer’s Frank Rindone; 2. ColoradoCase’s Andrew Amalfitano (left) and SteveSimmons; 3. Kustom’s Mark Hunter; 4.Yamaha’s Rick Young (left) and Kurt Witt; 5.From left: Levy’s Leathers’ Harvey and NikkiLevy and Heid Music’s Todd Heid; 6.Basson’s Victor Basson (left) and SeanMcAnally; 7. From left: David Gage’s SamFinlay, David Gage and Judy Epstein Gage

Peavey’s JSX 50 guitar amp headserved as a centerpiece of the company’sbooth. A collaboration with guitarist JoeSatriani, the head has been created to bethe “definitive 50-watt amplifier,” accord-ing to Jim Beaugez, Peavey’s communica-tions manager. “Joe loves the old, 50-wattamps from the ’60s, but his problem withthem is that they’re just not very per-sonal. So a modern player who’s doingthree sets a night playing a wide varietyof music needs something that allowsthem to get more sounds.”

This is achieved with an array of gainpossibilities, a boost switch on the crunchchannel and a six-way attack selector thatadjusts the bass response. The JSX 50 hasan MSRP of $1,499.

SOFTWARE EVOLUTION

L arge crowds also gathered around lap-tops and flat-screen TVs in Hall A to

check out the latest software innovationsfrom audio, recording and DJ suppliers.Ableton was at the forefront with its Live8 software. Live 8 enables remote collabo-ration via the Web with a special featurethat streamlines the sharing process.

“You can basically share your Liveproject with anyone anywhere in theworld,” said Antje Hübner, public rela-tions manager for Ableton.

Akai Professional partnered withAbleton to produce the Akai APC40 asan Ableton Live control surface. “Mycontroller gives me feedback with LEDsand color-controlled lighting to readinformation from the control surface, aswell as the software on the screen,” saidEric McGregor, Akai product specialist,during an APC40 demonstration.

Steinberg and Waves both expandedtheir software into new applications.Steinberg released Cubase 5 and CubaseStudio 5. It also developed a Cubase 5 appfor the Apple iPhone and iPod touch.

Waves Audio formed the Waves Livedivision to meet the live sound market’sneeds. Waves’ D-Show Enabler will make

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1. D’Addario’s David Luce; 2. Antigua’s Randy Huey; 3.Hamilton Stands’ Bill Carpenter; 4. Connolly’s Gary Byers; 5.International Woodwind’s Laksar Reese; 6. Artist Mike Smithand Sonaré Winds’ Maryann Zschau; 7. JJ Babbitt’s RoccoGiglio (left) and Bill Reglein; 8. From left: Dan Greenberg, PeteOlstad, James Carter and Roger Greenberg at P.Mauriat’sbooth; 9. Ja Musik’s Marcus Borchert; 10. Getzen’s ThomasGetzen; 11. Ralph Bowen (left) and Dansr’s Michael Skinner;12. Oleg Products’ Oleg Garbuzov (left) with Eric Marienthal

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more than 50 Waves TDM plug-ins com-patible for live environments.

Trinity Audio Group’s Indamixxpotable studio exemplified the integrationof computers and music. It’s a hand-held,mini laptop hardware/software musicmaking solution under $500.

“Mobile music making is the future,”said Trinity Audio Group’s CreativeDirector Ronald Stewart. “We already seethis making headway in the market.”

Several audio hardware suppliers aimedto help sound engineers adapt to newFederal Communications Commission(FCC) regulations that will reduce whitespace for pro audio use. AKG offered a hostof new products that comply with FCC reg-ulations, including the WMS40 Pro wire-less system and the System Architect HUB4000 Q plug-in with one-click setup.

Sabine also expanded the range of itsDTV/license-free wireless microphonesystems. The new SWM 6000 can use 34simultaneous channels and, combinedwith Sabine’s SWM 7000 wireless system,can reach 104 simultaneous channels.

“There will be many changes in howwe, as an industry, use wireless communi-cations systems with the upcoming DTVswitch-over,” said Joe Nguyen, director ofsales for Sabine. “Sabine is proud to offeranother wireless solution that will not beaffected by the DTV switch-over.”

Several audio companies havebranched out to appeal to a wider con-sumer base. Tascam’s DR-100 portablerecorder includes a wireless remote con-trol and audio editing features, whileOlympus introduced new wind jammeraccessories for its $399 Linear PCMrecorder. Edirol by Roland’s R-09 HRincludes pyro Audio Creator LE softwarefrom Cakewalk for easy audio-file editing.

Samson improved on the Zoom H4 withthe Zoom H4n. With a $349 street price, itrecords four channels simultaneously.Samson execs also announced the ZoomQ3 Quick Cam Recorder, which recordsaudio and video, further connecting audioproducts to a larger consumer base.

FIGHTING THE STORM

D rum manufacturers at NAMM werenot immune to the economic realities

of shrinking demand. At the PercussionMarketing Council’s meeting on the third

day of the show, attendees discussed theissue of money drying up for school musicprograms that turn students into musi-cians. Still, it didn’t keep percussion sup-pliers from releasing new products orstifle their awareness of where marketsare growing.

Larry Nelson, product manager forSonor Drums, said he has noticed moredrummers going to four-piece kits, asopposed to five-piece kits. While tightpocketbooks may be a contributing factor,he said the trend may have more to dowith drummers wanting to play in thepocket. “The four-piece sets are less busy,so drummers don’t have to carry aroundas much,” Nelson said. “This makes for adeeper groove.”

Pearl also emphasized a four-piece con-figuration with its Forum Ready-Set-Go!package. Other companies focused on five-piece kits as higher-end items. DrumWorkshop’s Collector’s series, in particular,not only features the larger number ofdrums but also an array of pristine finishes,such as olive ash and Macassar ebony.

Meanwhile, technological advancesamped up virtual percussive products,such as Roland’s DT-HD1 Drum Tutor.This software connects a laptop to a smallelectronic drum set, and its notationguides users toward making the right hits.

Many drum companies at NAMM alsolooked to the international market, or atleast globally minded players, for theirnew products. Toca Percussion unveiledWest African Freestyle djembes in antiquegold and silver. Chalo Eduardo, Remo’sinternational products manager, demon-strated the company’s new line of MiddleEastern doumbeks, South Indian Kanjiradrums and Caribbean-inspired MondoTunable Nesting hand drums.

“We’re manufacturing in the UnitedStates but making products for the world,”Eduardo said.

Some companies went for more retrolooks and sounds. Ludwig is celebratingits centennial this year with Liverpool 4, akit modeled after the one used by RingoStarr at the height of Beatlemania.Timbales player Ralph Irizarry has alsosigned on with Tycoon Percussion for asignature line, which he said is built torecapture the feeling of Tito Puente play-ing mambo in clubs 60 years ago. He

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added that this line can cutthrough in large, amplifiedvenues.

INNOVATIONS BUILT TO SELL

L ast year’s rocky economicfinale did little to delay the

release of some of this cen-tury’s most innovative pianoproducts. Piano and keyboardindustry sta lwarts usedNAMM to pair breakthroughproducts with imaginativemarketing strategies to helpretailers get the items to newaudiences in the coming year.

Yamaha introduced theAvantGrand digital piano atthe beginning of the show andits Customer-Centric Yamahaprogram the following day.The AvantGrand, designedwith multi-channel speakersand a soundboard resonator,uses the Tactile ResponseSystem to emulate digitally notonly the sound but also thephysical experience of playinga high-end acoustic piano.

The company’s new salesprograms also aimed to helpdealers tap into a younger gen-eration of online multitaskers.“Sixty-seven percent [of con-sumers] buying an item aregoing online to find informa-tion about that item,” said TomSumner, Yamaha Corp. ofAmerica’s senior vice president.In response, a recent click-through e-mail campaign, partof the new program, recorded

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the locations of consumers whobrowsed products on Yamaha’sWeb site, which will be passedon to dealers as new leads. Thecompany will also begin offer-ing enhanced sales guides for itsnew products online.

Roland debuted the V-Piano, the most lavish of thisyear’s piano and keyboardofferings. The company’sfounder Ikutaro Kakehashiintroduced the instrument inthe spirit of President Obama’selection. “For 100 years, pianosdidn’t change,” he said. “Ithink today we need a change.”

The instrument is the firstto use digitally modeled notesrather than sampled soundsfrom other acoustics, lettingplayers virtually create bothclassic piano sounds and morefuturistic hybrids — like thatof a physically impossible sil-ver-string-wound piano.

Other companies outfittedproducts with online andiPhone hookups to target X-and Y-generation users. QRSincorporated MIDI technol-logy into an entire line of itsStory & Clark acoustics. AndBaldwin received a “Best InShow” nod for its My FirstBaldwin, a children’s pianothat converts into a desk andiPhone-controllable stereo.

As a final piece of advice toRoland dealers on the firstnight of the show, Kakehashiaddressed financial stresseswith a firm warning. “Don’tjoin the price war,” he said.“People have upset the indus-try [by doing that] in the past.Enjoy your business. This isthe time to harvest.”

NEW DELIVERY SYSTEMS

A s printed music movesfrom page to CD to USB,

publishers began offering newproducts and solutions to helpdealers stay with the times.

Several publishers men-

tioned growing sales in bookspackaged with play-along CDsand DVDs. Hal Leonardrecently signed on to distributeDrumFun’s expansive Turn ItUp & Lay It Down play-alongdrum series, and Carl Fischerexecutives named the com-pany’s Creating And PerformingDrum Loops DVD and compan-ion book/CD as one of i tsrecent best sellers.

Still, with the growth ofdownloadable sheet music as acost-saving alternative to print,some publishers decided towait out what they see as ashort-lived CD storm. Kjos’David Gereghty said his com-pany is moving away frompackaging books with CDs.“Instead of worrying about theproduction costs of CDs, userswill just download [music andlessons] to their iPods,” hesaid, adding that he sees thethumb-sized USB flash drive asa more portable, efficient alter-native to the compact disc.

FreeHand Systems nowprovides such smaller solu-tions. Its Sheet Music On AStick line offers piano sheetmusic of popular selections ona USB memory st ick. Thefiles, which come 25 per drivefor about $24.95, are interac-tive, letting players transposesongs into any key and changethe playback instrumentation.“We want to make [sheetmusic] cool, hip and interac-tive,” said FreeHand VicePresident Sarah Shreve.

Reaching out to dealers andGeneration X and Y users,Alfred’s new Total Sheet Music

program offers a growing num-ber of downloadable sheet andguitar tablature titles from itsWeb site. Dealers can sign upfor the site’s Affiliate PartnerProgram, so customers canaccess Total Sheet Music’sonline database on in-storecomputers. Or, customers canlink through a store’s Web site.Partnering dealers receive an 8-percent commission on sales.

From the other end of theInternet, Mel Bay has found

that bloggers have helped gen-erate sales for its niche prod-ucts. Mel Bay PresidentBryndon Bay said that TedEschliman’s Getting Into JazzMandolin and Tony Trischka’sFiddle Tunes For Banjo receivedbuzz on blogs before they werereleased to the public.

“When [a product] comesout, there’s already a marketfor it,” Bay said. MI

Coverage of band and orchestra trends at NAMM begins on page 38.

MARCH/APRIL 2009 I MUSIC INC. I 53

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1. Kelly Thomas at the Buffet Cramponbooth; 2. Gemstone’s Carolyn Manley andRichard Barth; 3. PJLA Music’s PeterLaPlaca; 4. Schilke’s Andrew Naumann (left)and Phil Baughman; 5. Conn-Selmer’s JeffChristiana; 6. Golden Sound’s Rick Izumi(left) and Rheuben Allen; 7. Jupiter’s BrentRosborough (left) and Derek Craig; 8. LP’sJim Greiner; 9. RS Berkeley’s Al Pantalone;10. From left: Yamaha’s Hirofumi Osawa,Mark Anderson, Rick Young and Paul Calvin;11. Tama’s Jason Rank