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Atkin AA AM Special

Sun, 13 May 2012 18:34:00 GMT

Since going full-time in 1995, Canterbury-based luthier Alister Atkin has become one of the UK's most highly regarded acoustic makers, and his 2012 has got off to a heady start.

Last year, Atkin was one of two UK luthiers (the other being Mick Johnson) to be commissioned by The Buddy Holly Guitar Foundation to make two of 28 recreations of Holly's 1943 Gibson J-45, which would then be loaned long-term to well-known musicians to help raise funds for charitable organisations. Since then, he's actually made six of the instruments, for the likes of Sharleen Spiteri, Albert Lee, Mick Jones and Phil Everly.

"This AA comes with an infusing, open-voiced warmth built in, contributing to pleasingly sweet-edged highs and sustain."

Alister's catalogue, meanwhile, has gone into overdrive, with a wealth of new body shapes and materials being offered. But the most intriguing new additions to the roster are the AM Specials, available in all seven of his body styles, from which we have an AA size for this review.

At 15 inches wide, the AA has a similar body span and depth to Atkin's Martin-influenced OM, but the shoulders and lower bouts are subtly more rounded in their profile, lending an appearance more akin to a scaled-down small jumbo than a conventional 000 or OM. As the initials suggest, the AMs have an all-mahogany build, but rather than follow Martin's no-frills, no binding route seen on its 15 Series, the guitars are gloss lacquered (in nitrocellulose) with matching mahogany body binding.

The latter may seem a trivial point, but the binding provides a more precise definition around the body's perimeters than simply relying on the edge grain of the top and back to demarcate the adjacent rims. Elsewhere, the trim is purposefully restrained, achieving a clean, simple elegance with detailing such as a narrow pearl soundhole ring, ebony headstock and heel cappings, and a counter-grained mahogany fillet across the endblock.

Buffing of the lacquer is immaculate and, judging by grain reflections against the light, it's not too thickly applied. The guitar's internals are clean as a whistle.

Topped by a surefooted, aesthetically sympathetic set of nickel-plated Grover Sta-Tites, the 645mm-scale low-gloss neck is one-piece mahogany, secured using Atkin's usual Collings-style bolting system. Fretting along the bound ebony fingerboard is impeccably polished, while the near-flat radius will allow as low an action as you could wish for. There are no front position markers but the crucial side dots are there.

General dimensions are mainstream, starting at 43mm across the bone nut, with a slick, snug, moderate-depth 'C' profile that has just the merest hint of V'ing along the crown. Bridge string spacing is an all-purpose 55mm, making fingerstyle an easy proposition as things stand.

Should you favour a more overt picker configuration, however, Atkin offers a no-cost option of one that's 45mm at the nut, with 57mm bridge spacing. If required he'll also fit, gratis, a strap button at the heel, which isn't part of the standard spec.

Sounds

All-mahogany acoustics can sound dry, but this AA comes with an infusing, open-voiced warmth built in, contributing to pleasingly sweet-edged highs and sustain. Fresh off the production bench during early March's cold snap, its dynamics sounded a tad tight, but with not much playing in required, this aspect is blossoming, revealing a responsive, rounded low end that doesn't compromise the clarity and definition expected from a guitar of this size.

There's a timeless, vintage-like demeanour to this AM Special that greatly impresses and attracts. It's not a flash instrument but it definitely shines - both literally and metaphorically - where it needs to.

It looks and plays the business in AA form, and doubtless will do likewise, whichever Atkin body style takes your fancy.

Sigma DR-41

Tue, 10 Apr 2012 20:41:00 GMT

Sigma guitars from the '70s, when the brand was launched by Martin to compete with Japanese manaufacturers, remain sought after to this day.

Precious few ever make it to the second-hand market and a simple Google search for Sigma Guitars turns up a whole array of websites, communities and fan sites. But now the marque, which was withdrawn in 2007, has been given new life after being purchased by AMI, a German-based distributor of high-end acoustic and classical guitars.

"The DR-41's timbre is plump, lush and full."

Completing something of a complicated circle, Martin Guitars' UK distributor, Westside Distribution, is now importing Sigma Guitars into the UK. The Sigma catalogue has four ranges: the 1-series, the all-mahogany 15-series, plus the Standard and Vintage series.

The DR-41, from the Standard series, is adorned with generous ornamentation as featured within the soundhole rosette, the top's edging and hexagon-shaped fretboard markers. A tortoiseshell pickguard lifts the guitar's appearance too, as does the white binding that's applied to the fingerboard and headstock. The gold-plated Grover tuners also play their part in making the DR-41 an altogether posher-looking guitar than its stablemate the DR-28.

The DR-41's bookmatched soundboard has some nice contrasts in hue, though there is evidence of some scarring in places, particularly above the soundhole. While it's generally accepted that such inconsistencies in the grain have no detrimental effect on the guitar's tone, some might be put off by the lack of uniformity while others will embrace it as making the guitar unique.

Perhaps the most striking feature of the DR-41 is the two-piece laminate rosewood back. It boasts a gorgeous top layer displaying a luxuriant grain pattern, which in turn is set off with a herringbone-style centre stripe. Lovers of wood will be drawn to such a guitar for its looks and tonewood selection.

The DR-41 gives further evidence of Sigma's high standard of build quality, finish and presentation. Inside, the guitar is spotless, every joint is clean and tight and while the gloss finish is perhaps a little over enthusiastic, it's consistent.

The fretwork is excellent too and the DR-41 benefits from a first-rate set-up. The slim 'C' profile neck is substantial enough for grip, but not so full that it inhibits barre chords higher up the neck. It's very comfortable and non-taxing to play: the slim profile, good action and matte finish aid swift travel around the fretboard.

The quoted nut width of 42.86mm (1.69 inches) is as you'd find on a standard Martin dreadnought and while perhaps not best suited to fingerstyle playing, it is a happy medium for the cross-genre guitarist.

Sounds

Striking out first position chords we are impressed with the DR-41's sound. Producing what will perhaps become a signature sound for these Sigmas, the DR-41's timbre is like that of the DR-28: plump, lush and full. In short, it's a fine-sounding instrument.

And you can't change history. Sigma used to be Martin-owned and this Sigma is undeniably Martin-like. Be it the headstock shape, the logo design, the shape of the bridge or the dimensions, everything shouts Martin.

Still, our Sigma review model stands up to scrutiny in its own right. For the money it's superbly built with good quality materials and sounds fantastic - irrespective of their heritage and inspiration.

If you can't afford the real thing but still hanker after a classic-styled dreadnought, add Sigma to your must-try list.

Sigma DR-28

Tue, 10 Apr 2012 17:12:00 GMT

Production of Sigma Guitars, the affordable range launched by Martin in the '70s to keep Japanese competitors at bay, ceased in back 2007.

But the brand was recently purchased from Martin by AMI, a German-based distributor of high-end acoustic and classical guitars, and has since been re-launched. Completing something of a complicated circle, Martin Guitars' UK distributor, Westside Distribution, is now importing Sigma Guitars into the UK.

"While not clamorous or boisterous, the DR-28 is full, well-rounded and instantly likeable."

The Sigma catalogue has four ranges; the 1-series, the all-mahogany 15-series, plus the Standard and Vintage series. The Standard series is by far the largest, including 000-shaped guitars, 12-strings and electro cutaway models. Sitting in the middle is the DR-28 ('D' for dreadnought, 'R' for rosewood), which features a fine-looking bookmatched solid Sitka spruce top and laminate Indian rosewood back and sides.

The soundboard has a tight, pronounced and fairly straight grain and is home to a simple black pickguard. The DR-28's decorative cupboard is quite bare and what enhancements there are, are simple and understated.

The guitar's top is edged with uncomplicated triple-strip coachlining while both the top and bottom of the guitar are bound with humble white binding, which matches the heel cap. A three-ring soundhole rosette is the DR-28's only other decorative feature, although a parquetry stripe divides the two-piece back.

The two-piece, slim 'C' profile, mahogany neck is finished in matt satin and home to a single adjustable truss rod, access to which is just inside the soundhole at the foot of the rosewood fingerboard. Chrome enclosed Grover tuners are fitted to a Martin-shaped headstock upon which a transfer of the Sigma logo sits.

In terms of its dimensions, the DR-28 is an exact replica of our house Martin D-18. In fact, from the whole look, feel and presentation of the DR-28 is unmistakably Martin-like, which is unsurprising bearing in mind the brand's history. After close inspection, we were impressed by the build quality offered here. With a SRP less than £350, there's very little to justifiably find fault with. The high-gloss finish appears perhaps a little thick in places, but that's about it - it certainly scores well for craftsmanship and presentation.

Sounds

If the DR-28's appearance can be accused of being simple, the tone it produces is most definitely not. Punching way above its weight, the DR-28 offers a surprisingly rich and complex timbre complete with ample overtones and good sustain.

While not clamorous or boisterous, the DR-28 is full, well-rounded and instantly likeable. The top end of the register is bright too, with a clear, vibrant rasp.

When pitted against a range of similar and more expensive dreadnoughts, the DR-28 performs remarkably well. Tone is obviously a subjective issue but we'd suggest that you'd struggle to find a 'better sounding' dreadnought at this price point.

With the DR-28, Sigma has raised the bar of what can be expected from a solid-topped laminate back and sides guitar and if it becomes widely available, this model could just become one of the guitars of 2012.

If this reviewer was in the market for a dreadnought then he would purchase the DR-28 without hesitation.

Lag Tramontane T400J12CE

Sat, 18 Feb 2012 18:51:00 GMT

As can be discerned by its product code, the T400J12CE is a jumbo cutaway electro. Measuring nearly 17.25 inches(437mm) at its widest, it ventures into super-jumbo territory and, in the flesh, it's a very big guitar.

The book-matched solid Sitka spruce top is a quality selection and the laminate Indonesian rosewood back and sides are stained to give a deep, luxuriant look.

"The T400's plump, well-rounded timbre offers good projection and lush sustain, along with a tight bottom end."

Adding to the lush looks, Lag has presented this model (as with all guitars in the T400 Stage series) in a high-gloss finish. We're as impressed with this as we were with the French satin finish. Lag certainly knows how to complete and present its guitars.

Though a large, heavy instrument, we found the T400 comfortable to play. The out-of-the-box set-up is good and the neck non-taxing.

Bridge pins are favoured over the through-bridge design but otherwise, the T400 is spec'd the same as its sibling the T300AE. Quality materials are employed and it's fitted with the Studio Lag Plus electronics.

Sounds

The T400J12CE offers a likeable acoustic tone, full of character and warmth. The plump, well-rounded timbre offers good projection and lush sustain, along with a tight bottom end.

We'd suggest it's most suited to first-position chords (which, arguably, is the primary function of a 12-string) and when considering the inclusion of the aforementioned onboard electronics, makes a credible inclusion on any mid-priced 12-string electro shortlist.

The Studio Lag Plus system is an enjoyable experience: all the presets offer excellent tonal choices and, when coupled with its excellent acoustic tone, the T400 truly has a lot to offer.

Lag Tramontane T300AE

Sat, 18 Feb 2012 18:40:00 GMT

The T300AE's shares its solid red cedar top, Indonesian bridge, headstock face and soundhole rosette with its stablemate the T200D. Its laminate back and sides are constructed from Indonesian rosewood, which Lag hasn't stained or darkened, so it looks comparatively light.

With its larger-than-a-folk dimensions, it's generally accepted that this finger-friendly auditorium body shape offers an ideal compromise between the clout of a dread or jumbo and the articulate clarity of a small-bodied guitar.

The T300AE features a pinless bridge. This through-bridge design will appeal to gigging players, as string changing is considerably quicker and easier if bridge pins don't need to be extricated.

Some would argue that not having the strings penetrate the soundboard has a detrimental effect on tone; the fundamental anchoring of the string through the top and bridgeplate is absent. For context, Takamine tends to employ a non-pinned bridge on its standard models, while traditionally minded models often get pinned bridges. In any case, the impressive standard of build quality is further evident here on the T300AE, as is the excellent satin finish.

As the 'E' denotes, this is an electro-acoustic model and it features the Studio Lag Plus system, designed and produced in close association with German pickup specialists, Shadow. The system's control panel boasts a complement of three rotaries and two push-button toggle switches.

Its key features are the five built-in EQ presets. Each has been individually created by using a 31-band professional equaliser and then integrated into the onboard preamp. Switching between the presets using the notched rotary is simple, though a bypass can be engaged to allow the bass/treble sweep to be utilised instead.

The presets are named by Lagas: (1) Natural Folk, (2) Mellow Mids, (3) Studio Mid‑Cut, (4) Fingerstyle and (5) Mellow Jazz. The system also includes a chromatic tuner (which engages whether a cable is plugged in or not) and alow‑battery indicator light.

Access to the two CR2032 batteries is via a sliding cover at the top of the control panel. Shadow quotes anything from 160 to over 700 hours use for similar models in its own line: either way, that's a lot of gigs.

Sounds

Acoustically we have a tight, bright tone. The small body shape, coupled with the use of rosewood (albeit a laminate), helps to produce a timbre that's sweet and not too brittle. It's responsive too, handling variations in dynamics well. In truth, though, plugged in is where this electro wants to be - the Studio Lag Plus system is a revelation.

Engaging the onboard electronics turns a run-of-the-mill acoustic tone into something much more usable. With the bypass switch depressed and the controls set flat, it immediately offers a full, balanced and powerful output. The bass/treble rotary performs its duties particularly well and sweeps the sound from a fuller, deep thud through to a bright and crisp 'zing'.

As impressive as the 'bypassed' output is, the fun really begins with the presets. On some modern image-shaping-type systems, it's sometimes difficult to hear big differences between the tone of the available presets - not so here. Each position offers a markedly different tone - distinct from any of the other four - and perfectly usable depending on the setting:

· Preset 1 has high output, though remaining perfectly clear and free of distortion.

· 2 is the sweetest, most mellow of the options, and it works particularly well for bluesy-style chord work and single-note runs.

· 3 has the biggest-sounding output, providing less detail than 1 or 4 but a huge, ethereal sound with a massive bass and a chime-like top end.

· 4 has bags of clarity and definition, well suited to fingerstyle and, with less output, better suited to the stage.

· 5 is a deep, mellow output with soft but precise highs that we'd suggest works well with gently strummed jazzy chords and which responds well to palm-muting too.

Additional tweaking of the preset can be achieved by using the bass/treble rotary, though in practice it serves only as a tone pot and we'd suggest best results are achieved when it's left flat, allowing the preset to sing out unaffected.

In short, we love the tonal options on offer. The only downside is the propensity to feed back. In tests, we rarely had the volume dialled in over halfway - anything more and we began to lose control.

So, although the acoustic tone is somewhat standard fare, the Studio Lag Plus system is reason alone to want this guitar.

Lag Tramontane T200D

Sat, 18 Feb 2012 18:15:00 GMT

The T200D is a full-bodied dreadnought constructed with a solid red cedar book-matched soundboard. The top is subtly stained, resulting in a darker hue and an aged, more mature appearance.

The T200D's back and sides are formed from a bright selection of 'honey' mahogany, featuring a distinct, pronounced grain. The two-piece back is divided by a simple yet tasteful Indonesian rosewood centre strip, flanked by a maple pinstripe.

"The T200D's elegant French satin finish is beautifully executed and suits the simple, unpretentious looks."

The same is used for the body's binding, front and back, as well as the centre strip at the base of the guitar where one of the two strap buttons is located. A distinctive wood soundhole rosette is the T200D's only real decorative feature.

The two-piece mahogany, slim-profile neck is fitted with an undecorated Indonesian rosewood fingerboard into which 20 medium-sized frets sit neatly. The fretwork is excellent and although playability could be improved by lowering the action a tad, out of the box, the T200D plays well and feels comfortable. It's comparatively lightweight too, coming in at under two kilos, which dreadnoughts rarely do.

The T200D features an Indonesian rosewood, oil‑finished headstock face, into which the wooden Lag logo is inlaid. We like the headstock's stepped, 'chunky' look, and the decision to neither gloss nor satin finish the face is a good one in our opinion. We did, however, struggle a little with the shape of the neck's heel. Instead of being shaped to a sweeping point, the heel is comparatively flat.

In terms of its build quality and presentation, the T200D scores well. Every joint is tight, clean and tidy, as is the inside of the guitar. The elegant French satin finish is beautifully executed and suits the simple, unpretentious looks.

Sounds

Though mature in looks, the T200D has a tight, nasal, 'new guitar' sound that veers toward being brittle and harsh, particularly when strummed enthusiastically. We found the best results come from gently asking rather than demanding.

The bass is comparatively lacking when played against similarly priced Tanglewood and Freshman dreads, but it did show signs of beginning to mellow and open up during its time on test. While time will probably improve things, on this evidence, it's a little lacking at this price point.

Lag Tramontane T200D

Sat, 18 Feb 2012 18:15:00 GMT

The T200D is a full-bodied dreadnought constructed with a solid red cedar book-matched soundboard. The top is subtly stained, resulting in a darker hue and an aged, more mature appearance.

"The T200D's elegant French satin finish is beautifully executed and suits the simple, unpretentious looks."

Sounds

Patrick James Eggle Parlour Cuban

Tue, 14 Feb 2012 10:30:00 GMT

After occasional promptings in the past, Patrick Eggle introduced his first parlour-bodied guitar a few years ago.

The standard model is a spruce/rosewood 12-fretter with a slot headstock, but what we have here is a rather special incarnation, which Patrick lists it as one of his Unique Guitars, since it is presently a one-off.

"The Cuban has an impressively grown-up, open timbre: warm, smooth and, for its body size, richly textured and dynamic"

A significant contributor to its specialness is that the body is formed from pieces of old, very high quality Cuban mahogany that actually once saw service as a bank cashier's desk. Patrick has had this beautiful timber in stock for a few years, and has enough for another three or four instruments.

Designed, as he puts it, as an 'old school' interpretation, there are a number of period constructional aspects. First, the guitar, rather than employing Patrick's usual Titebond white resin adhesive, is put together with hide glue - the type that was used pretty much universally on vintage acoustics and other old stringed instruments.

Applied hot and brushed on, it's not necessarily better than modern adhesives but Patrick cites its good capillary and soaking-in properties as two advantages. He offers it as an option on all his guitars for £100 extra.

Second, the Cuban's beautifully buffed finish - gloss on the body, semi-gloss on the neck - is nitrocellulose, which Eggle is reverting to on all his guitars, not only because he's rediscovered a high-quality supplier, but also because his previous UV-cured lacquer is no longer produced.

Other retro touches include a bar ebony bridge with long saddle and a Brazilian rosewood headplate. The nut and saddle are both unbleached bone, which Eggle prefers because bleaching, he says, tends to soften the material.

One hardware aspect that seemingly bucks the approach is fitting Grover Rotomatic tuners rather than open-geared Waverlys. Patrick's rationale is that since he opted to use his regular peghead design, not the slot variety as on the standard parlour, he felt the die-cast jobs were a better aesthetic match. Feel free to agree or otherwise.

Cosmetics on the 343mm (13.5-inch) wide, 102mm-deep guitar are tastefully discreet. The body and soundhole are bound in ivoroid with thin three-ply dark/light-wood purfling; the markers along the unbound ebony fingerboard are simple pearl dots. The heel cap and endblock inlay both look like headplate-matching Brazilian.

Attached by Eggle's usual Collings-style bolting system, the 632mm-scale one-piece South American mahogany neck is unsurprisingly configured for fingerstyle, with an airy 46.5mm span at the nut and a mainstream bridge string spacing of 55mm.

The width might suggest a bit of a handful (and if that worries you, he will happily fashion a slimmer affair at no extra cost) but in fact the neck's an easy, accessible player, even for smaller hands, thanks to a shallow 'C' profile that graduates gently from just 20mm at the first position to under 22mm prior to the heel turn.

The relatively weighty Grovers prompt a hint of neck heaviness despite the 12-fret configuration, but not annoyingly so. Needless to say, the fretting is immaculately fitted and polished.

Sounds

Conventional wisdom says that a parlour's default sound is boxy and brash. Not this all-mahogany Cuban's. It has an impressively grown-up, open timbre: warm, smooth and, for its body size, richly textured and dynamic, counterpointed by a sweetly sustaining bite in the highs to endow the required presence. Lovely.

One of Patrick's motivations for the Cuban was to demonstrate what can be done with different wood sets. The result is a little beauty that, though it might not be first choice as a blueser's parlour, is hugely adept at handling an otherwise varied repertoire that many parlours would struggle with.

Chances are his remaining Cuban mahogany won't be around for long, so if you've the wherewithal, get your order in. Alternatively wait for a production all-mahogany version, because that's what we think Patrick should do next. The proof's already in the pudding.

Tanglewood TW28 CSN

Fri, 10 Feb 2012 10:30:00 GMT

Yeah we know. In the Bible David takes out Goliath. But this is real life, and the Tanglewood TW28 gets busy throwing its not-so-insignificant weight around from the start.

In the dreadnought tradition, it's huge in every direction with the soundboard clocking 400mm, the rim depth circa 120mm and the round shoulder contours blotting out the sun.

"This solid cedar top is an arresting proposition that brings a real richness and response to light fingerpicking."

That's not to say this is a brutish instrument. To us, cedar is not only a tonal curveball, it also looks more sultry than spruce, and Tanglewood has made a tidy job of lashing the satin finished solid top to the laminate body, topped off with a soundhole rosette that's among the classiest we've seen.

It's a shame, then, that the end of the fingerboard is a bit mangled. Structurally, though, it's sound.

To state the bleeding obvious, the Tanglewood does feel like a whopper on the lap and this long-scale mahogany item feels pretty chunky. Potentially, this alone might smoke out smaller players but, for anyone who can handle the girth, this acoustic guitar is ultimately rewarding.

Really, it all boils down to tone. As you'd hope from a dreadnought, the TW28 can belt it out in terms of raw volume, but it really shines when you analyse the more subtle qualities of the sound.

This solid cedar top is an arresting proposition that brings a real richness and response to light fingerpicking, and teams up with the mahogany for a gorgeously warm overall tone will knock you off your seat when you dig in with a plectrum.

It seems a tad adolescent to conclude that 'big is best', but in this case there's no getting around the quality on display.

Fender CF-140S

Fri, 10 Feb 2012 09:30:00 GMT

What the folk is going on here? In a market sector that groans beneath a glut of bloaters and behemoths, the Fender CF-140S is slim, sultry and almost a little stunted, like Kylie Minogue driving a Smart Car.

In terms of cubic centimetres of fresh air, it's virtually a shoebox with a 104mm rim depth to the laminated mahogany body, a solid spruce top circa 370 mm at the widest point, and a corset-waisted hourglass figure that we desperately want on our lap. The laws of physics dictate that smaller acoustics often don't have much poke, but the Fender boys are confident, citing "full, rich and resonant" projection that will "fill a room".

"The tone is damn good for the price, with a great spruce snap that gives definition with fingers and a rousing jangle with a pick."

Inside and out, the X-braced Chinese build is tidy and there's nothing to delay you getting to grips with a body and neck that are a breeze compared to your average dread. The body doesn't swamp you, the neck feels slim in the palm and the scale is just a little shorter.

String spacing is pretty standard, meaning you have plenty of room for uncluttered fingerpicking combined with a great sense of physical control. Fret access is no better than normal, but all in all this feels like the kind of go-anywhere guitar that you grab for a busking session (an impression backed up by the price).

The CF-140S certainly has a bit of welly for its size, but compared to the big boys it doesn't ring out with as much authority and, relatively speaking, we found ourselves working hard once we opened our gob to sing. The tone is damn good for £178, with a great spruce snap that gives definition with fingers and a rousing jangle with a pick.

As for that "fill a room" soundbite… we're not so sure. It's certainly punchy and insistent, but the tone leans towards the twang and falls down a little on warmth and fullness.

The folk-size body has seen a resurgence in popularity over the past couple of years, finding favour with the bearded fraternity, Scoring a Fender acoustic for less than £200 is an exciting prospect, and the CF-140S is a real breath of fresh air.

Tanglewood T6

Thu, 02 Feb 2012 11:56:00 GMT

When performing live, an acoustic guitarist is generally either trying to make themselves heard above the chatter of a cafe or pub crowd, or running through the public address system in a larger venue.

In both scenarios it makes sense to have an acoustic combo, such as the new 60-watt Tanglewood T6 on your side. A good amp will blast your noise to the back of the room in smaller venues and earn its keep as your stage monitor in bigger sheds.

The T6 has a line out socket that enables you to run it to a PA without shutting down its built-in 8-inch speaker. That means you get the window rattling volume you need to rupture eardrums without compromising control over your onstage sound.

The T6 has two channels: channel one is for guitar and channel two is prepped for a mic or line-level source. Here, we're going to concentrate on channel one.

In use

Upon plugging in our Takamine electro-acoustic, the first thing to do is tweak the 'high/low' button. If your guitar has a battery-powered preamp like ours, select the 'low' setting. Choose 'high' for low-output soundhole pickups and stick-on bugs.

Now it's just a matter of balancing your guitar's controls and the amp's three-band EQ to get your sound. FYI, there is a red 'clip' indicator that ignites if you overload the channel. Don't panic - just drop the gain until the LED extinguishes then boost the master volume.

The T6 has plenty of headroom and top end sizzle, although there is a 'contour' control if you need to boost the treble. We like the dedicated DI, line out and MP3 sockets, and how the T6 can be mounted on a speaker stand for improved sound projection in smaller venues.

We're not so blown away by the onboard effects. The wet-sounding Hall reverb is OK, but the Plate and Chorus are anaemic and uninspiring. There's no way to tweak the delay, which is annoying.

The delay time and regeneration are set, so if you don't like the sound, tough. You can run your stompboxes and FX units through the amp's send and return sockets and assign them to each channel with the effects pan knob.

We don't regard the pants onboard effects as a deal breaker. The T6 is a great-sounding, ultra-portable amp that offers pro-quality tone and bags of headroom at an affordable price.

You can buy a padded gigbag (£39) for the T6, which offers neat storage for your cables and great protection from damage.

Of course, all that padding won't protect the T6 from some mighty stiff competition, not least the diminutive but powerful ZT Lunchbox Acoustic (£389). We reckon you should try as many acoustic amps as possible, including this one, before you make any decisions.

Tanglewood TW15H-E

Wed, 25 Jan 2012 16:59:00 GMT

Tanglewood's Heritage Series TW15H-E comes very well appointed. The gloss body is handsomely bound in walnut, adding coachlining around the rims and herringbone top purfling and rosette, and a similar centre strip down the back.

Walnut also edges the neck, continuing around a peghead toting vintage Kluson-style tuners. The ebony fingerboard carries abalone slot-diamond markers. The only minor mark-down is a pickguard that's lifting slightly around the edges.

Kicking off at 44.5mm at the nut, the satin neck is relatively deep towards the heel turn, but it remains comfortable and, allied to airy bridge string spacing, is an excellent picker. Ignoring its separate heel portion, the TW's neck is a one-piece affair.

Sounds

This is an enjoyably punchy dread, combining deeply pinned lows and sunny highs with excellent dynamics and subtly forward mids that aid projection without over-hardening the sound. The Presys Blend preamp dishes ample gain, with responsive EQ ranges.

The only necessity is to cut some middle to banish hints of nasality. With mic-based blenders, a little goes a long way before artificial ambiences appear, and the preamp's mic-gain trim pot helps. Set that fairly low and you've a good musical range to play with on the blend rotary.

In short, this guitar greatly impresses for its enthusiastic dynamics and projection. The Presys Blend is very capable and adaptable, and it's an excellent instrument for fingerstyle courtesy of its wider neck and string spacing.

De Gregorio Maestral Cajon

Thu, 24 Nov 2011 15:30:00 GMT

Revered Italian cajon maker Paolo De Gregorio has brought something truly special to the table with his latest creation, the Maestral cajon. It is a thing of beauty, and like the rest of De Gregorio's cajons, in terms of construction, you really can't get much better.

Build

Made in Spain, the body of the Maestral is formed from 9mm Birch Plywood and has a 6mm Birch rear panel. The Tapa (front plate) is 2mm birch plywood with a veneer stamped on top, and it's available in two versions: Makassar (black and brown) and the rainbow-coloured Iris, which is the one we're examining.

"In terms of construction, you really can't get much better."

Uniquely, DG include an extra front panel which is a slightly thicker 2.5mm birch plywood and features a stained black finish. The changeover of front plates takes only five or so minutes and gives you two distinct sound options within the same high quality surround. You are also able to select additional front plates from DG that'll fit the Maestral so you'll certainly have one versatile cajon.

The back of the cajon is a 6mm birch panel with a standard rear sound hole, and all aspects are of the highest quality and finished flawlessly. All the inner reinforcements are birch and the snare is a twin double guitar-string system, with bottom tensioning and a high-resistance six-strip Velcro muffling system to control string resonance. The snare sets are independently adjustable via a hex key underneath.

All the wood is FSC certified and the finish is a double lacquer of water-based varnish, eco friendly and complying to the Kyoto protocol, no less. Another bonus is the inclusion of a fascinating complimentary DVD produced by DG entitled The Ways Of The Cajón.

Hands On

As soon as you make the first few explorative strokes on the Maestral, you realise that you're in for something special. Considering that the dimensions are pretty conservative (49cm x 29cm x 30cm) you'll be surprised with not only the achievable volume, but the full range of tones at your disposal.

The Maestral really is a beauty, with a myriad of highly musical tones that blend together wonderfully and is just so satisfying to play. Bass tones sound fabulously rich and present even at low volume levels and the mid to high register is warm and super articulate.

The snare system is highly adjustable and complements the natural sound of the cajon really well. The level of snare snap can be adjusted effortlessly by repositioning or removing the Velcro strips and there is a hex key as well as a tool to aid changeover of the front plate inside the cajon.

Hagstrom Deuce F

Fri, 14 Oct 2011 09:38:00 GMT

It might have a chambered body, but the Hagstrom Deuce F is a monster of a guitar that tips the scales at 3.85kg. That may seem like a deal breaker, but don't be hasty: this brute might just win you over yet.

Playability is up there with the best of them. Hagstrom employs an ultra-stiff trussrod system that enables it to fit slim profile necks that don't compromise tuning stability.

"Stomp on the filth with the bridge humbucker engaged for a fantastic aggressive tone; a thrilling combination of edge and beef that kills for metal and punk."

Like all Hagstrom guitars, the Deuce F features a 'Resinator' fingerboard. This is a composite material that offers a feel and tone similar to ebony.

The 'board is studded with 22 well-seated, well-dressed frets.

The Deuce's Custom 58 humbuckers are each wired to a dedicated volume and push/pull tone control. Pull the tone knobs and each 'bucker splits for singlecoil sounds; push it to activate humbucker mode.

The only problem is with the Gibson-style 'bell' knobs: they're tough to pull.

You have to dig the meat of your fingers under the skirts of the knobs to shift them, and even our heavily calloused claws found that a bit uncomfortable after a few attempts. Fatter knobs would make coil splitting easier.

Sounds

Maybe it's the oversized headstock, the body chambers, the 10mm-thick maple top or the stiff neck, but the Deuce F pumps out an incredible amount of sustain.

It could also be the over-engineered tailpiece that sees each string threaded through its own tone block, which is then anchored to the guitar's body via a thick slab of Perspex.

It works brilliantly, even if it looks a bit bonkers. Luckily, the whole thing is covered by a chrome plate.

Plugging the Deuce F in is a revelation. Stomp on the filth with the bridge humbucker engaged for a fantastic aggressive tone; a thrilling combination of edge and beef that kills for metal and punk.

While it's less adept at bright rhythm jangle, the Deuce F still cleans up well. The neck humbucker also excels for jazz chords and weeping, bluesy lead tones.

The Hagstrom Deuce F is an unusual beast, it's a bit on the heavy side and isn't quite as well-finished as competitors such as the PRS SE Custom Semi-Hollow.

However, its incredible tone and sustain mark it out as one of the best affordable rock guitars we've ever tested. If your spine can take it, give it a whirl.

PRS SE Custom Semi-Hollow

Fri, 14 Oct 2011 09:00:00 GMT

The PRS SE Custom Semi-Hollow has a chambered mahogany back topped with a slice of maple. In the SE Custom's case, its top is finished off with a flame maple veneer to make it look extra pretty.

The eye candy quota is boosted by a Rickenbacker-style 'cat's eye' f-hole, a flock of birds across the fingerboard inlays and a finish that makes this guitar look as though it's been dipped in honey.

"The SE is a bit lightweight for metal, but it's still a great overdriven blues and rock machine."

Speaking of the runny, sticky stuff, the neck on this guitar is the bee's knees. Our SE has the PRS 'Wide Fat' profile that fills your palm with plenty of wood yet still feels fast enough for any playing speed.

While the SE doesn't have any body contouring, there's a generous scoop at the treble-side cutaway that offers unhindered access to all 22 perfectly dressed frets.

The SE Custom anchors its strings on a simple, fixed-intonation wraparound bridge/tailpiece. If the lack of intonation adjustment freaks you out a bit, it will be reassuring to know that PRS uses this style of bridge on some of its US-built guitars, such as the McCarty. Besides, the intonation is great on our SE all the way up the fingerboard.

In terms of the finish, it's no exaggeration to describe our PRS as absolutely flawless. In fact, the only niggle we have is with the control layout.

The volume control is within easy reach when you need to use it, and while the tone is a bit far away, it's not enough to cause any real problems.

It's the pickup selector we're griping about. Look where it is. Your hand has to make a fair old excursion to reach the switch if you want to flick it quickly while playing.

Sounds

Plugging in, the PRS has a bright airy tone that works really well for clean rhythm playing. The bridge pickup is well defined without being shrill, and engaging both humbuckers is just the thing for clean blues and rockabilly.

Neck pickup solo is the go-to setting for jazzy stuff. The SE is a bit lightweight for metal, but it's still a great overdriven blues and rock machine.

If you're fishing for a beautifully put together, almost perfect all-rounder, then the PRS SE Custom Semi-Hollow ticks those boxes big time.

Shop around and you'll find most dealers pushing them out at around £639 with a padded PRS gigbag. File that under a great deal.

Michael Kelly Hybrid Special

Wed, 12 Oct 2011 14:52:00 GMT

First impressions of the Michael Kelly Hybrid Special are mouth watering, with a stunning maple top, chambered mahogany Tele-shaped body and wood-effect Rockfield humbuckers.

This hybrid doesn't just promise superior sound splicing, it also looks like the love child of a rock star and a carpenter. That said, it's a shame to spot a bit of mess through the f-holes of an otherwise nicely built Korean guitar.

"The Hybrid Special is a compromise - a single guitar will never widdle like a JEM and strum the same as a Martin - but it's a damn good one."

A good start, then, and the Hybrid Special doesn't drop the ball with its physical performance. It's light, but offers a deep rim depth, meaning that it feels natural for strumming on the lap and has a lovely resonant shimmer before you even plug in.

The string spacing is a relatively tight, but the combination of a short scale, manageable neck profile and set join enables us to cruise the fretboard and perform bends and vibrato with ease.

We're not kidding ourselves, though. The Hybrid Special is a compromise - a single guitar will never widdle like a JEM and strum the same as a Martin - but it's a damn good one.

We threw everything, from tapping to fingerstyle, at it, without ever thinking, 'This feels weird.'

Inspect the rim and you'll see the Hybrid Special has only one output. This might sound like a limiting factor, but it's not: one option is to plug in the 'Y' cable provided, thus splitting the signal and sending the piezo and mag outputs to different amps.

The other choice is to use a standard cable and one amp, at which point the two pickup signals are combined and you can blend them using twin volume controls, thus shaking up any number of sonic cocktails.

It's a little frustrating that there are no markers on the dials, so you have to blend by ear, but overall this guitar is reasonably non-confusing and requires no extra kit to get up and running. When you throw in the coil-tap feature, it starts to look even more tempting.

Sounds

But, ultimately, it's the raw tone that really sells the Hybrid Special. The electric sound is top class, cracking out a nasty grind and screaming lead, then dropping back to a surprisingly snappy clean tone.

But the acoustic side is great too – you can feel the flavour of mahogany and maple – and messing about with the mix is a great way to unlock bespoke tones.

On the evidence here, hybrid tech is moving fast and sounding better than ever. It's a tight field, but the Hybrid Special is sitting pretty.

Italia Mondial Classic

Wed, 12 Oct 2011 14:28:00 GMT

We feel we're selling the Italia Mondial Classic short by calling it a 'two-in-one' - it looks like a mash-up of at least five designs. Fitted with numerous tone controls, an f-hole, a retro pickguard logo and an old-school trapeze tailpiece, it comes on like a great lost '60s curiosity.

Then you give the soundboard a tap and discover that it's made of a Perspex-like material known as Acousti-Glass, and held on to the chambered agathis back by a rubber strip like a spare tyre. We can see Jack White loving this, but visually it's not for everyone.

"The Mondial's neck has a smooth profile curve that combines with great access to get you rolling out the tasty lead licks and crunching thrash rhythms."

It's chunky and weighty on the lap and strap too, and the overall physical impression is far more electric than acoustic. The neck, for instance, has a smooth profile curve that combines with great access to get you rolling out the tasty lead licks and crunching thrash rhythms.

Certain hybrids we've tested fell down once we put our acoustic hat on, with electric-friendly fretboards that can make you fumble your fingerstyle. Granted, it doesn't feel as natural as our trusty dreadnought, but the Mondial is a good all-rounder, with a 54mm string spacing at the bridge that means it feels comfortable for both Dylan and Zeppelin.

When it comes to tone, the Mondial has two separate outputs (Electric and Acoustic) - so you've got a choice. First is the 'wall of sound' approach: stick a standard lead in each output and run the piezo through one amp and the 'buckers through another.

If you haven't got two amps, you could use a dedicated 'Y' cable or a switch box, such as the Morley ABY, to jump between sounds or combine them as you choose. There are certainly a lot of dials to tweak, including a pair of pots (two-band EQ) that let you shape the piezo sound.

As for the tone quality itself, we were pretty impressed, especially with the electric sound. As you'd hope from the odd top material and hollow wings, the Itlaia sounds intriguing in mag mode, with the Wilkinson humbuckers supplying a biting tone that cleans up nicely for mellow blues and jazz (although the difference between the neck and bridge pickups isn't as day and night as we'd like).

Potentially, you'd buy it just for its magnetic performance, but by comparison the acoustic voice isn't as impactful. Maybe it's the relatively slim body or that plasticky top, but booming resonance and woody warmth are thin on the ground.

We didn't miss our Les Paul during our time with the Italia, but we were glad to get back to our dreadnought.

Italia Mondial Classic

Wed, 12 Oct 2011 14:28:00 GMT

"The Mondial's neck has a smooth profile curve that combines with great access to get you rolling out the tasty lead licks and crunching thrash rhythms."

We didn't miss our Les Paul during our time with the Italia, but we were glad to get back to our dreadnought.

Michael Kelly Hybrid Special

Wed, 12 Oct 2011 13:52:00 GMT

First impressions of the Michael Kelly Hybrid Special are mouth watering, with a stunning maple top, chambered mahogany Tele-shaped body and wood-effect Rockfield humbuckers.

"The Hybrid Special is a compromise - a single guitar will never widdle like a JEM and strum the same as a Martin - but it's a damn good one."

The string spacing is a relatively tight, but the combination of a short scale, manageable neck profile and set join enables us to cruise the fretboard and perform bends and vibrato with ease.

We're not kidding ourselves, though. The Hybrid Special is a compromise - a single guitar will never widdle like a JEM and strum the same as a Martin - but it's a damn good one.

We threw everything, from tapping to fingerstyle, at it, without ever thinking, 'This feels weird.'

Sounds

But the acoustic side is great too – you can feel the flavour of mahogany and maple – and messing about with the mix is a great way to unlock bespoke tones.

On the evidence here, hybrid tech is moving fast and sounding better than ever. It's a tight field, but the Hybrid Special is sitting pretty.

Yamaha JR2

Wed, 12 Oct 2011 13:36:00 GMT

The acoustic guitar industry seems to be having a baby boom at the moment. We've seen small acoustics from giants such as Taylor and Takamine emerge this year, and as the name suggests, the JR2 isn't Yamaha's first stab at building a small guitar.

While Taylor's GS Mini feels like a 'proper' guitar that's shrunk in the wash, the JR2 is about portability and affordability first, with tone and playability a respectable second.

"The JR2 is designed to be easy to sling around your neck when you're lugging a tent and a crate of beer through a festival field."

Build-wise, a few things have changed since the JR1, seeing this new model with an authentic-looking mahogany Ultra Thin Film finish to the laminate poly-board back and sides, and a subtly arched tidy spruce top. The styling, which apes that of Yamaha's full-size FG models, has also been tweaked to look more grown up.

First impressions are mixed: strum a chord and you'll hear a pleasant but lightweight acoustic tone, making the JR2 at home when playing fast, folky numbers.

Although hard-strummed chords can sound boxy, the guitar is quite punchy and is richer in sweet mids than the super-compact, 90mm-deep body might suggest. Full-fat bass tones are nearly absent, but sustain is pretty decent for the size too.

Less pleasing is the way your fingers have to crowd into what feels like a space the size of a two pence piece when, say, forming a D chord. The narrow 43mm nut means playability is cramped compared to a full-size guitar.

You get used to it after a while, but playing fingerstyle on the JR2 initially feels about as roomy as trying to breakdance in a broom cupboard. This guitar suits breezy, easy strummed chords far better, which fits its intended purpose.

Yamaha hasn't made the JR to put vintage dreadnoughts to shame. Instead, it's designed to be easy to sling around your neck when you're lugging a five-man tent and a crate of beer through a crowded festival field, and it excels at that kind of caper.

Smaller and lighter than Taylor's GS Mini and Takamine's EG Mini, it's also much cheaper, so if it picks up a few scuffs and dings after being slung in vans, dropped in the mud and accidentally kicked, it's no big deal. Plus, the rugged nylon gigbag it comes with should keep the worst of the damage at bay.

The JR2 is meant to be played, not hung on a wall, and for that Yamaha should be commended. While you're unlikely to fall in love with it for its tone alone, as a tidy little tool for outdoor strumming it's likeable and cheap enough for you not to resent the inevitable compromises that have been made to achieve its small size.

Yes, almost any decent standard-size acoustic will outdo it in terms of both volume and tonal richness, as will premium-grade small guitars from the likes of Martin and Taylor. But if you take the JR2 where space and portability are at a premium, it will shine.

Review: Tiki Snare Drums

Tue, 04 Oct 2011 15:17:00 GMT

Hove-based Tiki Drums is run by the multi-talented Preston Prince. A professional drummer for 20 years, Preston is also a qualified teacher, skilled craftsman in demand for his restoration services and all-round rhythmic evangelist.

Tiki doesn't only produce custom drums - it also supplies blank shells, high-end components, drum-building guides and also distributes Canadian fibreglass Tempus drums.

"This incredibly responsive drum can pick out brushwork with a detective's attention to detail while rim-shotting for England at the other end of the scale"

Build

Up for review are two 14"x6" Tiki snare drums, a 10-ply maple shell in black glitter wrap and a 5mm-thick solid Beeswing mahogany shell with a natural finish.

Unusually for a custom builder Preston doesn't make his own shells, preferring to delegate this task. He believes that the quality of the finishing and hardware components is just as important as the shells themselves.

His shells are supplied as blanks, and he then finishes and dresses them, and cuts the bearing edges by hand.

Preston sources shells from Keller - the company that supplied DW with shells for many years - as well as Dean Price of Guru Drumworks and US builder Vaughncraft. The maple-shelled snare is built from a 10-ply Keller shell, while the steambent Beeswing mahogany drum is a Vaughncraft creation.

Preston confesses to having an encyclopaedic knowledge of vintage drums and this is reflected in the look and feel of these two snares. The maple-shell drum is dressed with tube lugs and its innermost ply has been primed and coated with three layers of red stain.

Preston says this is mainly for aesthetic reasons, but reckons that if it does influence the sound as well then it will probably be for the better. The snazzy black glitter wrap has been expertly applied with the join cleverly hidden behind the throw-off.

The Beeswing mahogany snare has 10 retro-stylish double-ended lugs and a Dunnett R4 strainer. Beeswing mahogany is a medium-density African hardwood that is commonly used for acoustic guitar bodies.

It has a fine-grain structure with plenty of interesting details within. As if to accentuate the beauty of the wood, the shell has been oiled and waxed to a lush satin finish.

Both drums have reinforcement rings - another 10 plies-worth in the case of the maple snare and a single 6mm-thick scarf-joined ring in the Beeswing mahogany.

Bearing edges are cut to a pointed 45° for
the maple drum and a far more rounded 30° on the Beeswing mahogany. Evans heads and triple-flanged hoops are fitted to both drums.

Hands On

Preston's New Zealand roots are represented in the name and logo of Tiki Drums. 'Hei-Tiki' is a Maori pendant which is worn as a guardian and can also represent fertility, and the gurning face of the depicted figure certainly makes a change from most drum badges.

Both drums are as good to play as they look, but possess their own characteristics. The all-maple snare has a sharp, bright, open tone that fizzes with energy. Played anywhere but dead centre the sound is embellished with musical overtones that, by the time the edge is reached, culminate in a lingering metallic peal.

It's an incredibly responsive drum that can pick out brushwork with a detective's attention to detail while rim-shotting for England at the other end of the scale.

In comparison, the Beeswing mahogany snare is drier and thicker-sounding. The lack of overtones allows the timbre of the wood to really shine through.

Though it doesn't have the same degree of bite upfront there is a hardness present which makes it stand out. I found the hint of darkness in its tone to my liking as well.

I tried it out at a gig with a full-rig PA. I usually have to apply at least one Moongel to curtail ringing; with this snare nothing was required.

Throughout the set, the drum kept backbeats locked down with almost indomitable authority. It was equally capable of being expressive when it came to fills, with rimshots being delivered with a particularly fruity clonk.

The snares are only two of a vast range of bespoke drums that Preston offers. They somehow seem older than they are, Preston's love of classic drums clearly influencing his own creations.

...

Review: Meridian Retro Fusion Kit

Tue, 04 Oct 2011 13:57:00 GMT

The successor to the Mapex M and Pro M ranges, the intermediate Meridian series simplifies the choice and options of shell material, while featuring upgrades to a variety of components including lugs, tom mounts and hardware.

Build

The five-piece Retro Fusion kit comprises 10"x7", 12"x8", 14"x12" toms, 14"x5 " snare, 22"x14" bass drum and a 700 Series hardware pack.

"Each tom proves wonderfully articulate and responsive, with plenty of character."

This is a feature-rich selection that has two boom cymbal stands, hi-hat stand, snare drum stand, bass drum pedal and all the necessary tom mounting hardware - an aluminium multi-clamp and a resin ball-type tom mount allowing virtually any tom angle.

While the review set is constructed from 100 per cent North American rock maple, birch is also available as an option. Each shell is made up from seven thin plies, but the bass drum is a millimetre or so thicker owing to its slightly chunkier plies.

The breather hole rivet is used to attach a small plaque to the inside of the shells, displaying the drum serial number and country of origin. Nylon gaskets isolate each piece of hardware from the shell.

The Chestnut Burst finish has been applied using eight coats of lacquer, hand-sanded to attain the high-gloss finish. Toms and snare feature chromed steel triple-flanged counter hoops, attached via square-headed tension bolts.

'Beavertail'-style lugs are attached to the shell at the nodal point (where the hardware's less likely to impede shell vibration), isolated from the shell surface by a nylon gasket. The suspended toms have ITS (Isolated Tom Mount System).

The roadworthy set of double-braced 700 hardware includes cymbal 'OS actuators' to help maintain maximum resonance from each cymbal. The smooth operation of the cymbal tilts on each boom stand is courtesy of a long DW-style lever which, with the boom adjuster, comfortably allows any chosen angle. The 700 bass drum pedal is basic but functional with its single chain-drive pull and tri-sided beater.

Hands-on

Assisted by the functional and well-designed hardware, each drum is positioned quickly and easily.

The shallower bass drum noticeably possesses a quicker rebound on the pedal. The pre-damped heads help in getting a good sound straight out of the box – though not so wall-shaking, it still manages to pack a punch.

The toms give an impression of larger drums, helped by the Pinstripe heads which give a little extra bottom end. Tuned to a medium tension, each tom proves wonderfully articulate and responsive, with plenty of character. The snare has a lovely thick woody sound at a lower tuning and, notched up a couple of key turns, dispenses with the richness, instead substituting some cutting attack on the twos and fours.

Value-wise, at around the £1,000 mark it still holds its own even with competition from Pearl Vision and Yamaha Tour Custom kits.

...

Review: Jalapeno V-L Series Kit

Tue, 04 Oct 2011 11:42:00 GMT

The V-L Series is Jalapeno's third range of full-size kits, joining the established Classic and Elite Series. Owner David Nuttall has been making Jalapeno drums since 1998 and personally constructs every drum.

He has over three decades of experience as a drummer, having occupied the throne for Geordie fun punksters The Toy Dolls and also winning 2005's UK's Fastest Drummer title. He's also a talented chef with a penchant for curries, hence the name Jalapeno.

"A lot of blood, sweat and tears has gone into this kit, resulting in a set of drums that can truly be described as musical instruments."

Build

V-L stands for 'very light' and the new range represents a further advancement of David's drum-making philosophy.

"There is very little I do which other makers haven't done," he explains, "but what I have tried to do is to work out what is best for every stage of drum development and apply that knowledge to the manufacturing process."

Like all Jalapeno drums, the V-L Series is made from premium Finnish birch. The shells are truly thin - 6-ply, 3mm thick with additional 12-ply reinforcement rings.

Though the plies are cross-laminated, the grain runs predominantly vertically (four out of the six plies). The shells have obviously been laboured over as they are perfectly round and meticulously detailed, with the 45° bearing edges being precisely cut.

While David happily admits to prioritising the sound of his drums over their appearance, the kit looks absolutely ravishing.

The outer layer of ply of each drum is birdseye birch which has simply been sealed with a clear gloss lacquer to emphasise the beauty of the wood. Inside the shells have been oiled to enhance the tone.

There is little point in constructing light, resonant shells and then fitting heavy hardware, and here David has devised a bespoke solution. Full-length anodised aluminium lugs are attached through single mounting points at each end of the shells.

This design - custom-made to David's specification - ensures that any stress is spread evenly across the shells. The snare drum has shorter, centrally-mounted versions of the lugs.

The emphasis on lightness also extends to the mounting hardware, with high-end Gauger aluminium RIMS mounts and DynaMounts fitted to the tom and floor toms respectively. The single rack tom mount is attached to the lugs rather than the tension rods, so head changes can be accomplished without having to uncouple the tom and put it on a flat surface.

The tension rods themselves are superior TightScrew versions which are reluctant in the extreme to detuning. S Hoops are fitted to all the drums with the exception of the bass drum, which has matching birdseye birch hoops.

Hands On

The review kit is made up of a 22"x18" bass drum, 14"x6" snare, 12"x9" rack tom and 14"x16" and 16"x16" floor toms, but David can supply a wide range of sizes to order.

Jalapeno drums are normally supplied with Aquarian heads, though David is happy to accommodate each individual's requirements. The Aquarian heads fitted to the review kit were all single-ply and medium weight and so likely to give an honest rendering of the drums.

You'd expect a kit featuring such light, thin shells to be resonant to the point of lively but this is surprisingly not the case.

The bass drum is dark, punchy and full of depth but uncannily controlled. With no dampening other than the minimal sound control rings in the heads, it decays instantly, leaving my ears straining to detect unwanted rumblings. But there is nothing, just a big note and then silence – extraordinary.

This mixture of expansive tones delivered with restraint continues across the toms. They are clean yet warm, aggressive yet balanced, laden with character and naturally resonant. With each visit they seem to sound better and I find myself unable to imagine how they might be improved.

The snare provides a bright counterpoint, cutting through with brilliant clarity. It's a lovely drum – wonderfully crisp, superbly responsive and innately musical – and could fill a review on its own.

A lot of blood, sweat and tears has gone into the kit. David does all the work himself so the turnaround time for this size of kit is two to three months, but this painstaking approach has resulted in a set of drums that can truly be described as musical instruments.

...

Review: Gretsch USA Standard Kit

Tue, 04 Oct 2011 10:45:00 GMT

The USA Standard range provides a quicker and cheaper route to owning a set of Gretsch's prestigious American-made drums. The brainchild of Nick Moulin at Fender UK, USA Standard is exclusive to Europe.

Build

Gretsch is a global brand that produces kits at most price points and has manufacturing bases spread around the world. It is also a company with a remarkable heritage that stretches back to the 19th Century, to the dawn of commercial drum manufacturing as we know it today.

"USA Standard drums are made in exactly the same way as USA Custom drums, and have the same level of care and attention to detail lavished on them."

Without dismissing Gretsch's excellent affordable kits that are made elsewhere, US-manufactured drums are what Gretsch's reputation has been built on.

The slogan 'That Great Gretsch Sound' says it all, and a roll-call of drumming greats from the past 100 years finds a significant proportion of them plying their trade behind a Gretsch kit. So if American Gretsch drums have a certain cachet to them, it's not without good reason.

Until now, the only way of acquiring a Gretsch USA Custom kit involved a wait of up to four months while Gretsch's small, close-knit workforce in South Carolina made the drums to order.

USA Standard has been devised as a fast-track process that limits the options without compromising the quality or integrity of the drums. Launched at this year's Frankfurt MusikMesse, the range consists of three shellpacks available in a choice of six finishes.

Gretsch has manufactured batches of all of the components, so USA Standard kits are effectively stock items with a typical wait of no more than a few days from ordering to delivery. They're also a good 25 per cent cheaper than an equivalent USA Custom kit.

As the range is limited strictly to the stated shellpack and finish options; any extra drums would have to be ordered via the USA Custom route, with its higher costs and protracted delivery time.

The three shellpacks are made up of toms and bass drums only, and cover jazz (18"x14", 12"x8" and 14"x14"), fusion (20"x16", 10"x7", 12"x8" and 14"x14") and rock (22"x18", 10"x7", 12"x8", 16"x16").

This last kit was the example sent for review. Snares are ordered separately from a choice of 14"x5" or 14"x6" models, of which we received the deeper version.

USA Standard drums are made in exactly the same way as USA Custom drums, and have the same level of care and attention to detail lavished on them.

Gretsch's celebrated six-ply maple shell formula - which has barely changed since the late 1950s - is employed across the kit. In a market filled with manufacturers offering new and more radical shell-construction techniques, it's refreshing to find a shell that epitomises the adage 'if it ain't broke, don't fix it'.

The key word in the shell description is 'formula', which hints at both a particular method and possibly another ingredient. There has long been speculation that Gretsch shells sound like they do because somewhere among the maple lie other plies of a different wood.

Gretsch refuses to be drawn on the subject, and why should it? As the shells are so central to the Gretsch sound, the company would have an understandable desire to keep the details secret. Suffice to say Gretsch maintains that the shells are near-identical to those produced half a century ago.

Bearing edges are cut at Gretsch's regular 30° on all of the drums, including the snare. The process of cutting the bearing edges is done by hand on a vintage routing table and is the responsibility of two longstanding employees.

Gretsch's fabled Silver Sealer coats the inside of the shells, while die-cast hoops are fitted to the toms and snare.

Bass drums come with matching wooden hoops, with the review drum's hoops having an additional pearl inlay. The bass drum also features new die-cast claws, which offer more protection to the hoop than the model they replace.

Hands On

The six USA Standard finishes comprise two Nitron wraps (Sky Blue Pearl and Vintage Champagne), two Nitro-Cellulose gloss lacquers (Dark Ebony and Burnt Orange) and a pair of Nitro-Cellulose satin lacquers (Classic Natural and Walnut).

Applying Nitro-Cellulose lacquer is a painstaking process that takes between two-and-a-half and three weeks to complete. Each coat is applied by hand, as is the subsequent sanding between each coat.

Such thorough preparation makes for an unbeatable finish, and the Satin Walnut of the review kit is a lesson in understated beauty. Coated Remo Ambassadors, rebadged as Gretsch Permatone, are found on the snare and toms, while the bass drum sports a Gretsch logo'd coated Powerstroke.

The first thing that struck me was the openness of the kit's sound - the drums singing without restraint. The bass drum almost strays into uninhibited territory.

At 22"x18" with no dampening – other than the thin ring in the Powerstroke head - it delivers a colossally deep thud that is in no hurry to decay. In the marquee in which I gigged with the kit - normally a flat acoustic environment – the kick sounded live and resonant.

Eventually a minimal amount of external muffling had to be applied to make the drum mic-able. Tonally it was fat, centred and powerful, with each stroke creating ripples in the singer's trouser legs whenever he stepped too close.

A similarly open feel is present in the toms, with the thin shells and thin heads combining to great effect. The die-cast hoops help them cut through without encroaching on the warm notes that follow.

Plenty of woody body is present too, thanks to the 30° bearing edges. Fills between the toms and bass drum bring to mind Roger Taylor in all his majestic glory.

The snare gave an equally impressive performance, being as tonally distinct as the other drums and just as capable in the volume stakes. Sensitivity is excellent, and the spread of dynamics it offers indicates a seriously versatile drum.

From pulsating rimshots to shivering brushwork - and all stations in between - it reproduced everything faithfully.

Gretsch drums are manufactured by a small, loyal workforce that refuses to divulge build-secrets, further heightening their allure.

The USA Standard range, made to the same specification as all Gretsch drums by the same people in the same factory, means the possibility of owning a bona fide US-made Gretsch kit, with all of the heritage that comes with it, is now open to more drummers.

Review: Washburn WCD18CE

Fri, 30 Sep 2011 14:31:00 GMT

Depending on the angle at which an acoustic guitar is held when playing - particularly seated - it can dig in to your chest, causing some discomfort and leaving an unsightly wave-shaped welt as evidence of your noodling.

Earlier this year, Washburn launched a small range of guitars that seek to solve the problem and make playing an acoustic an altogether more comfortable experience.

While not offering the dynamic and tonal range of more expensive instruments, the WCD18CE has plenty of volume, good sustain and a spring in its tonal step.

The simple design features behind this concept involve a slightly increased radius to the guitars' back along with a carved-out recess situated at the join between the guitars' back and upper side.

Think of the curves shaped into a Stratocaster's back; in essence, Washburn's new guitars are a much less exaggerated version. Unsurprisingly then, the range has been given the monicker the Comfort series.

Four guitars make up the range; a grand auditorium (WCG18), a cutaway electro version of the same (WCG18CE), a dreadnought (WCD18) and, our review model, a cutaway electro dreadnought. Both electro versions feature Fishman Isys+ 301T electronics. The grand auditorium models are not yet available in the UK.

The WCD18CE's body is formed entirely from laminates: book-matched spruce-faced for the guitar's top and mahogany for the back and sides (the back also book-matched).

A tasteful abalone transfer sits within an uncomplicated soundhole rosette - the WCD18CE's only noticeable decorative appointment. Simple, cost effective binding has been fitted to both sides of the guitar's body, the mahogany neck and headstock.

Of course, the key aspect to this guitar is whether the shaped back results in a more comfortable playing experience. In short, it does.

Though subtle in appearance, the strategically placed 'scoop' on the upper side of the back does definitely 'hug' rather than 'dig' and, to that end, mission accomplished. Whether there are sufficient numbers of guitarists out there struggling or in pain due to the shape of their acoustic is debatable, but it's good that Washburn has offered a choice at this price - other contoured acoustics appear in small 'boutique' maker ranges and will cost a lot more.

Although very much an entry-level model, it's good to see rosewood used for the bridge and fingerboard, upon which 21 well-finished, medium frets are seated. Tuners are unbranded, die-cast chrome enclosed specimens and the guitar is factory-fitted with D'Addario strings.

Overall, the WCD18CE is fairly well presented although, for some, the high-gloss finish will feel a little too thick and there's some evidence of retrofilling around the point at which the headstock angles away from the neck. Inside, though, it's clean and tidy.

The Fishman preamp's control panel is located on the upper shoulder and features bass and treble rotaries, a larger volume rotary, and phase and tuner push-buttons - the latter operating even if no cable is attached for unplugged tuning.

Sounds

The WCD18CE offers a dry, woody but likeable, if not particularly characterful, tone. Of course, this is an electro targeted at the cost-conscious and, while not offering the dynamic and tonal range of more expensive instruments, the WCD18CE does have plenty of volume, good sustain and a spring in its tonal step.

The Venetian cutaway facilitates good access to the upper registers and the WCD18CE's treble is clear and bright enough to encourage venturing up the dusty end.

Employing the services of the Fishman onboard pickup reveals a capable system providing a punchy amplified tone. The bass and treble controls work well and offer excellent tonal variations - certainly more than the guitar offers acoustically.

This particular model does come without the electronics (and cutaway) priced at £174. We'd suggest that for the extra £36, the electro version represents a good buy and value for money.

Tonally speaking, the WCD18CE is not exactly going to set the world on fire, but that's not really the point of this guitar. As its name suggests, the primary purpose of the Comfort series is to offer a more form-fitting body shape.

Washburn claims that the Comfort series will allow for "advanced precision and tonal control". We'd argue that particular point, but what Washburn certainly has done is fulfil its design concept, and this will appeal to those whose playing experience has suffered as a result of a 'fullbodied', larger guitar.