Latest Acoustic Guitar Reviews and News

Bone Saddles n Gloss Tops – from the Mail Bag

A Bone Saddle and a Gloss Top add a lot to the Martin D1GT.

Gary K. writes:

I recently bought a D-1GT and I really love it. Currently upgrading to bone from the factory plastic hardware. I have a question regarding Martin naming convention. I know that the “D” stands for dreadnought and “OM” orchestral model. What do the last part of the model name (the “GT”) stand for?

Spoon replies:

Hi Gary, thanks for your question and congratulations on the guitar.

“GT”

The GT stands for Gloss Top. The D-1 and some other models came with a satin finish on the top. The GT version includes the upgrade of a high-gloss finish on the top, which is resistant to dings and pick wear, and gives the guitar a look similar to more expensive models. Your D-1GT is among the best values Martin has ever offered.

Upgrading from plastic hardware

A bone saddle can provide greater definition, sustain and purer fundamental notes off the strings of an acoustic guitar, well worth the effort and expense.

When one upgrades to a new bone saddle they may find that things sound a bit shrill. But that only lasts a short while. After the guitar is played for several days that will burn off, leaving a clear, transparent ring.

The nut material at the top of the fingerboard matters as well, but not nearly as much as the saddle.

Other material used for saddles and nuts include tusks or jaw bones from various animals, as well as fossilized ivory – which is actually only partially mineralized.

Fossilized walrus ivory and fossilized mammoth ivory are most common. Of the two, I prefer the mammoth. Both add some warmth and roundness to the tone of a guitar, which can be a welcome addition to a guitar with a brand new Adirondack spruce top, since Adirondack is usually pretty tight and brittle sounding for the first year or two. But in exchange, the guitar will lose some high end sparkle. So it can be a tradeoff. FMI seems to take away less of that Adi chime than the Walrus variety.

Overall, I find plain old bone, usually from a cow shin, is virtually identical in tone to the elephant ivory commonly used on guitars in the eighteenth and early nineteenth century.

Many also change to bridge pins made of bone, or other natural materials. While bridge pins are not nearly as important as the saddle in terms of sound production and tone, they do make a difference. But Martins have shipped with pins made of one sort of plastic or another since the 1920s and many people are happy with their guitars, without the need to switch out the pins.

– TSP

bone saddle
Bone Saddle

We’d like to know YOUR opinion on bone saddles!

Please leave us a comment below

If you have your own question to ask Spoon, please drop us a line at

guitar@onemanz.com

Juber In Concert Across America and Europe

Juber Doing Juber on a Juber

After reviewing his latest album, and latest guitar, we will be happily seeing Juber playing Juber on a Juber, tonight at the Cutting Room in New York’s Famous Manhattan.

8 PM.

A full schedule of his upcoming concerts is available at the end of the CD review.

Laurence Juber's Under an Indigo Sky

Taylor Guitar Road Shows May-June in Europe and the US

Taylor Guitar Road Shows May-June

A complete schedule has been posted of the Taylor Guitar Road Shows May-June, where you can play the latest guitars, meet Taylor reps and learn about their Expression pickup systems. There are many dates in Europe, as well as the U.S.

Schedule of Taylor Guitar Road Shows May-June

On June 18th they will be at

Taylor Guitar Road Shows May-June

 

 

 

in Flemington, New Jersey

Juber’s Juber – the Martin OMC-44K LJ

Our latest guitar review, the Martin OMC-44K LJ

No ordinary guitar…this OMC-44K LJ has an Orchestra Model body size, with a Cutaway and it is made in a modern version of Martin’s Style 44, with back and sides of Hawaiian Koa wood, known for its unique combination of clear trebles, warm harmonics, but with a more open mid-range compared to other rich tonewoods like rosewood. Just the way Laurence Juber likes it.

Read the Full Review of the OMC-44K LJ

OMC-44K LJ
(photos: Wildwood Guitars)

CD Revew – Laurence Juber’s Under an Indigo Sky

A “late-night” record of fingerstyle artistry, Juber’s Under and Indigo Sky is …

Languid, lovely, evocative… a melt into a sumptuous sofa, and the sonic equivalent of isolated pools of low light playing off facets of cut crystal and opulent aperitif, close sensuous voices, soft laughter bittersweet with memory at the end of an evening. A warm, layered and very human scene painted entirely with one acoustic guitar drenched with resonant chords, clear and unhurried melody lines, and shadowy blue bass notes that rise or fall in pitch or pace like a melancholy pulse. An exquisite piece of music played on an exquisite guitar, exquisitely.

And that is just the first track on Juber’s Under an Indigo Sky, the latest CD from the two-time Grammy winner.

It was mixed by Al Schmitt, who has won 19 Grammy Awards, including the Lifetime Achievement Award in 2006.

On the CD, the slightest string vibration, creak of the guitar’s hide glue joints, or wave of Juber’s “virtual whammy bar” technique used to coax out every drop of resonance is heard clearly and in three dimensions. The vinyl version must be breathtaking.

As impressive as the vibrant playing is, it is the more languid performances, such as Cry Me A River with its sustained chords and un-struck string glides that truly show off the mastery of the engineer and the exceptional qualities of the guitar. While both the mellow and the vigorous selections reveal the mastery and exceptional qualities of the guitarist.

Read the Full Review of Juber’s Under an Indigo Sky

Laurence Juber's Under an Indigo Sky

George Barnes – the first electric guitarist

George Barnes just may be the best guitarist you (thought) you never heard. He appeared  at more recording sessions than any musician in the union files – blues, jazz, rock n roll, folk, country and western, you name it.

… Then, I heard the duets of George Barnes and Bucky Pizzarelli. I was enthralled with the musicality of the tunes, the breathtaking licks, the slower passages of glistening, liquid tone. For some reason I assumed the suave, James Bond looking guy with the colorful name must have been doing all the exquisite lead playing. Only later did I realize it was the squat, cigar-chomping George Barnes who was tripping the light fandango in such a transcendent manner.

He had a lot of practice, as it turned out…

Read the Full Article

George Barnes

Huss & Dalton TD-M Custom Sinker Mahogany – NEW REVIEW

And what a Huss & Dalton TD-M Custom it is too!

In a word, the voice is huge … a good example of a Bluegrass banjo killer with focused trebles that cut through the stout, strong bass of its pronounced bottom end … If you are familiar with the brand, I can say this guitar is warmer, fatter and more resonant than even some rosewood Huss & Dalton offerings, as that dense tonewood and reflective spruce reverberate and amplify each note and every strum. It still sounds like mahogany, but mahogany that has been working out in the weight room …

Read Full Review of Huss and Dalton TD-M Custom

tdm1

Photos of theTD-M Sinker Mahogany model released

Photos of the TD-M Sinker Mahogany

To whet your appetite for our exclusive review (publishing Friday, May 10), here are some photos of the TD-M for your enjoyment and envy.

One Man’s Guitar photo galleries

Huss & Dalton TD-M Sinker Mahogany

Huss & Dalton TD-M Sinker Mahogany – our next review!

A Huss & Dalton TD-M Sinker Mahogany model will be the subject of a video and hi-def audio recording later today. We look very forward to visit from the owner, and to playing this guitar again.

It has been chosen as our next review, which we hope to have up early next week.

For those unfamiliar with sinker wood, it refers to timbers that were salvaged from bodies of water, where it has lain for years. In this case the mahogany came from Belize, where whole logs of old growth Big Leaf mahogany was submerged in a river for perhaps a century or more. Kiln dried in Belize, it has made its way to various luthiers, in this case it was made into a Huss & Dalton TD-M. Yum.

READ THE FULL REVIEW!

Related Content:

 http://www.hussanddalton.com/woods.html

CD Review – Howard Emerson’s It Ain’t Necessarily So

Howard Emerson’s It Ain’t Necessarily So offers tracks that are bluesier, while some are more poppy, or even churchy. Many are written in alternate tunings, and most of those are cross-tuned so the key is something other than the root of the tuning itself (no small feat when done with such mastery.) But all are neatly constructed and expertly rendered…

Emerson’s style is easily recognizable, by its authoritative thumb-driven rhythms matched with an intelligent use of mid range and treble that weave texture and highlight around simple yet fresh melodies. And there is always that impeccable timing, with flow and tension, space suddenly appearing and just as quickly filling up again. That is all notably present on tunes like “Pop Top” and “That’s What She Said.”

Read Full Review of Howard Emerson’s It Ain’t Necessarily So