Isbell, echoing comments David Gilmour made last year, believes guitars sound better with age. And though he reckons Martin’s contemporary creations can grow to sound just as good as the builds from its golden age, that’s going to require some patience. Luckily, he has a method for speeding up the process.

“I think the guitars that they're making right now hold up with the pre-war guitars,” he says of Martin. “Especially as they age. I think they'll wind up sounding just as good, and that's a beautiful thing.”

Pre-war Martins are perceived by many as the pinnacle of acoustic guitar luthiery and tone. To get his newer acoustics in a similar tonal ballpark, he treat to some, erm, high volume exposure.

“It's one of those things that the longer it goes, the more the pores dry out and widen and the wood gets lighter and thinner over the years, the better the guitar is going to sound,” he accepts. “I recommend putting it in front of a couple of stereo speakers when you leave the house and turning it up really loud.

“I normally use Outkast or something, just so when I come home, Outkast is playing on the stereo. It makes me happy. But all my new acoustic guitars get to listen to Outkast for about 40 hours the first week they're in the house.”

The theory here is that sound vibrations help open up the wood of a guitar, essentially maturing it at a much faster rate. The science plays out at a molecular level, as it essentially helps dry out the wood as water molecules hinder an instrument's resonance.

With Martins in particular, Isbell feels there’s great value in this process.

“Martin is the quintessential American guitar company, certainly for acoustic instruments,” he states. “I've tried everything else and I still prefer Martins, old ones and new ones.”

Isbell’s Martin collaboration comes after the launch of his new Tim Shaw-voiced signature Telecaster pickups, and a Gibson Murphy Lab reissue of his famed “Red Eye” Les Paul.

He's also come to the aid of beginner guitar players, offering advice on how newbie strummers can get over the hardest part of learning the guitar.

Jason Isbell has dropped a triple whammy of releases with Martin in the form of two acoustic guitars and a companion string set.

The serial Grammy winner has modeled his two new acoustics on his prized 1940 0-17. It features on every track of his latest album, Foxes in the Snow, which says a lot about its personal value.

The Martin 0-17 Jason Isbell ($4,999), limited to just 50 units, looks to echo the magic of pre-war Martins. Its body is crafted entirely from solid sinker mahogany and paired with Adirondack spruce Golden Era scalloped X-bracing “for a warm, expressive voice.”

Its fingerboard and bridge are made from Brazilian rosewood to prioritize “classic feel and playability,” while 17-style appointments – including a dovetail neck joint, Waverly Nickel open back tuners, and a multi-stripe rosette – maintain the instrument’s tradition.

“The Brazilian rosewood is a really special thing,” says Isbell. “The fact that Martin was able and willing to do that for these guitars makes me really happy. The neck on this one is pretty identical in shape to the original guitar. It’s a very simple guitar to look at and to play, but certainly not simple to put together.”

For those with smaller budgets, the 0-10E Retro Jason Isbell ($1,049) represents a more affordable alternative. Bringing the spirit of Martin’s Road Series “in a stage-ready form,” the satin-finished, all-mahogany build melds a 0 14-fret body, scalloped spruce X-bracing, and Martin E1 electronics with a built-in tuner for “warm, focused tones and plug-and-play performance.”

Once again, 17-style appointments feature, while nickel open-gear tuners and a Modern Straightline bridge complete the build.

“This guitar meets the artist’s criteria that the instrument can’t be the challenge,” Isbell believes. “They’re well made, they’re easy to play, and it encourages beginner guitar players and singer-songwriters to have something that is quality. I could take this guitar and make a living with it.”

Isbell’s new string set arrives as part of a new line of Martin Era strings. They’re designed to “set the standard for acoustic tone and playability,” and are emboldened by Martin-fuelled benefits. That includes its patented Lifespan treatment to better resist corrosion, its Flexible Core tech for enhanced comfort, and silk-wrapped ball ends so that, whatever acoustic it goes on, is safe from accidental damage while restringing.

Specifically, Isbell’s signature set ($17.99) is custom-voiced “for strength, balance, and consistency.” The 12-54 gauge strings get red silk-wrapped ball ends and “reflect his exact touring and studio-tested preferences,” for Isbell-inspired warmth.

Visit Martin for more.

The releases follow a Gibson Murphy Lab reissue of Isbell’s ‘Red Eye’ Les Paul, and Tim Shaw-voice Fender Tele pickups, which might be the most versatile Telecaster pups on the market.

He's also come to the aid of newbie players struggling to get a grip of the instrument, revealing how he levelled up his playing during his formative years.

The Gibson Custom Kirk Hammett Raven is a nod to one of Poe’s most famous works, and only 100 are being made. They come soaring out of the Gibson Custom Shop in Bozeman, Montana.

Beyond the gothic aesthetics – which include a bold, mother-of-pearl skull inlay perched on its color-matched headstock, and intricate raven-theme pickguards and a matching tailpiece – this is really a standard Hummingbird in a Halloween costume.

There’s a solid Sitka spruce top, mahogany back and sides, traditionally scalloped Advanced X-bracing, and a round profile for the neck, which props up a 16” radius, 20-fret ebony fretboard. Mother-of-pearl star inlays, meanwhile, sprinkle something new atop the build.

Elsewhere, there are Grover Rotomatic tuners, while TUSQ components – including the nut, saddle, bridge, and pins – complete the hardware specs.

The square-shoulder acoustic is also saddled with an L.R. Baggs Element VTC +4 system. Onboard EQ comes courtesy of discreet, soundhole-mounted volume and tone controls. There’s also a 4 dB output boost for extra output.

Hammett has personally signed all 100 of the guitars on the soundhole label. The guitars arrive in a black Gibson Custom hardshell guitar case featuring a raven skull graphic that matches the headstock. Within, players will also find a certificate of authenticity and a raven-themed guitar strap. But certainly no skeletons or other spooky things.

“Availability is extremely limited,” Gibson warns of the build, which it has dubbed “a counterpart to the legendary Hummingbird”.

The Gibson Custom Kirk Hammett Raven is available for $4,999.

See Gibson for more.

This isn't the first time Hammet has dropped a limited-edition, Raven-inspired guitar. He once commissioned the pyrographer to the stars, Dino Muradian, for a run of special ESP Eclipses that did likewise.

The Harley Benton CLC-650SM-CE Solid Wood is a Grand Concert-sized electro-acoustic guitar. Sporting a cutaway for easy access to the highest notes on the fretboard and an armrest built into the body, this guitar puts comfort and ease at the top of the menu.

It also boasts some incredible specs that are almost unheard of at this price point. It’s got a Fishman Flex Plus-T acoustic guitar pickup and preamp system with built-in tuner, mother of pearl headstock inlay, abalone rosette but most impressively a solid African mahogany top and solid mahogany back and sides. All-solid wood body construction and premium electronics for under $350? You have my attention.

Specs

• Price: $339/£299/€349
• Made: China
• Body shape: Grand Concert
• Body top: Solid African mahogany
• Top bracing: Scalloped X-bracing
• Back & sides: Solid African mahogany
• Neck/shape: Okume, C
• Scale length: 25.7” (653mm)
• Nut/width: Bone, 1.69” (43mm)
• Fingerboard/Radius: Ebonol (composite), 400mm radius
• Finish: High Gloss Black, Ultra High-Gloss Vintage Sunburst
• Bridge/pins: Composite
• Tuning Machines: Closed WSC DLX machine heads
• Electronics: Fishman Flex Plus-T pickup system with built-in tuner
• Case: Not included
• Left-handed options: No
• Contact: Harley Benton

Build quality

Build quality rating: ★★★★★

First up, it’s worth saying that the build quality is in no way reflected by the guitar’s price tag. You could double its price and still think that the guitar is very well put together.

The neck is nice and smooth along the back and the frets have been finished perfectly. There isn’t one sharp edge on any of the frets – an issue that can plague some affordable instruments.

The binding on the top and back of the body, the rosette and headstock inlay are have also been executed nicely; no signs of a rushed job, scrapes or scuffs. The heel where the neck joins the body is super neat too, plus the gloss finish all over the body and neck is lovely and smooth with no blemishes. The armrest has also been done seamlessly.

All the hardware feels sturdy and reliable. The tuners do a fine job and give a reassuring amount of resistance when you turn them. The strap buttons are nice and tight, plus the jack input and preamp are sitting pretty where they need to be.

Again, sometimes on more budget-friendly instruments, you get a few things that might be a little loose out of the box, or one or two areas that look like a Friday afternoon job, but none of that is apparent here!

Playability

Playability rating: ★★★★½

One of the main reasons you might look to a Grand Concert guitar to your collection is for its relatively compact size. The body is slightly bigger than a Concert sized guitar, but it’s smaller than a Grand Auditorium, Dreadnought or Jumbo guitar. As such, it’s really comfortable to play.

If you’re smaller of stature, or perhaps you're looking for an acoustic guitar for a child, then its more compact dimensions make it easier to play. Your strumming arm doesn’t have to reach around quite as far to get to the strings and it sits very comfortably on your body when sat down.

The armrest adds an extra layer of comfort to the whole playing experience too. It essentially softens the edge of the guitar where your arm makes contact with it so instead of your arm resting on a right-angled edge, it sits nicely on a flat surface.

The neck profile feels fairly thin. Harley Benton calls it a C profile which doesn’t give too much away, but it is on the thinner side which again will aid those with smaller hands. It’s comfortable in all playing positions too, from right down at the nut all the way to the top – the cutaway on the body also makes for easy access to the very highest notes on the treble strings.

It’s worth noting how well the guitar plays too. The packaging the guitar came in looked like it had come straight from the factory so this is how a customer would receive it. Right out of the box, I wouldn’t make any adjustments to it; the action was fairly low with no frets buzzing at all.

The only potential downside to its playability is the gloss neck. If you’re playing live and you sweat a lot, gloss necks can start to feel a little slippery so some players prefer a more matte-finished neck. If that’s not an issue for you, then it’s a great playing instrument!

Sounds

Sounds rating: ★★★★☆

It’s a great sounding guitar, there’s no doubt. Like you might expect from an acoustic of this size, it has quite a focused sound with a fairly pronounced mid-range and top end. It’s quite bright for a mahogany guitar and has a quick response without too many overtones ringing out as you play it, but there’s also a mellowness to it. As such, it would make for a great recording instrument.

There isn’t a ton of bass with this guitar, again because of the size of the body but that’s not always a bad thing. If you’re playing acoustic guitar alongside a band, having less of a prominent bass response will mean you’re not getting muddled up in the bass player’s frequency range.

A tighter, more mid-focused tone from the acoustic can give a more defined sound in a band context; it’ll also mean that you can cut through more without having to increase the volume.

It’s undeniably versatile, and it reacts well to strumming, flatpicking and fingerpicking. If I was using it more for one style of playing, it would be the latter. The smaller body means there’s less surface area to drive with the strings, so if you’ve got either a softer touch, or you’re more of a fingerstyle player, then you can get the guitar to respond more easily.

When using fingers, the guitar really does produce a beautiful, sweet tone that’s super reactive to playing dynamics. With the guitar being made from all-solid wood, the sound will likely improve the more you play it over time too.

If you’re a big, bold strummer, you’ll get some great tones out of it, but you might find that you hit the volume ceiling fairly quickly. If you need lots of power and projection, then it might be worth looking at the grand auditorium version (CLG-650SM-CE) which also has a spruce top as opposed to mahogany.

When plugged in, the guitar delivers a fairly standard piezo style sound; it’s nothing special but it will get you by at live gigs or open mic nights. What is nice though is having a three-band EQ on board so you can at least dial particular frequencies in or out.

Verdict

This grand concert electro-acoustic guitar from Harley Benton offers outstanding value for money.

Comprising a solid mahogany top, back and sides, you get a mellow but lively tone that’s nice and responsive to your playing. You don’t get loads of volume out of it, so it makes for a great fingerpicking guitar, but that said - it’ll tackle a variety of musical styles in the hands of the right player.

The compact body size makes for a really comfortable playing experience too. If you’re on the smaller side, or you just want something that’s easier to travel around with, then this is a fantastic choice. The armrest makes it even more comfortable and helps give the guitar a more premium look.

Guitar World verdict: I can’t imagine there are many better grand concert guitars around this price. It’s well built and has a premium feel to it. It sounds great and will work for a range of different applications, but it excels as either a recording guitar, acoustic guitar in a band context or fingerpicking guitar.

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The band had met folk singer-songwriter Bob Dylan while in America that same year, and been bowled over by the compositions on his second album, The Freewheelin’ Bob Dylan. In conversation (and after Dylan had introduced them to marijuana), the singer advised John and Paul to “stop writing for the meat market” and come up with more thought-provoking lyrics.

This would contribute to making Help! a more acoustic-led affair, with songs that shifted away from the ‘boy and girl, you and me’ hit-making formula of She Loves You, From Me To You and I Want To Hold Your Hand.

To this end, Lennon acquired his Framus Hootenanny 12-string guitar on the band’s return to London. The unspecified shop paired it with an Australian-made Maton case that can clearly be seen in photos from the Help! film set.

The Beatles already owned US-made acoustics – John and Paul had Gibson J-160Es and Paul had his Epiphone Texan. And at the height of Beatlemania Lennon was clearly flush enough to go this route again, or indeed that of Martin, but he obviously bonded with the German-built Framus.

It’s said he particularly liked its sound and how it blended with Harrison’s Gibson. Also, with its adjustable bridge, perhaps the guitar was easier to manage than fixed-bridge models with ’60s-style actions and the hefty strings of the day.

Let’s also not forget that Framus was already a popular marque with UK groups. For instance, McCartney’s own first instrument was a Framus Zenith, Bill Wyman of The Rolling Stones famously used a Star bass, and The Animals, The Herd and others also favoured the brand.

Both Lennon and Harrison played the Hootenanny on the Help! album: John and George on Lennon’s Dylan-influenced You’ve Got To Hide Your Love Away, and Lennon using it to drive the wistful It’s Only Love and the title track itself. You can also see John miming to the former track in the film, and noodling on the instrument in stills from the movie.

The guitar carried over to the following album, Rubber Soul, too. Lennon played it, capo’d at the 7th fret, on his soulful ballad Girl, while Harrison provided rhythm back-up on McCartney’s uptempo I’ve Just Seen A Face and John’s Norwegian Wood (This Bird Has Flown).

These were the last Beatles songs on which the Framus would be heard, since at the end of 1965 John presented the Hootenanny to Gordon Waller of Peter And Gordon. McCartney had penned hits for the duo (the other half of which, Peter, was the brother of McCartney’s then girlfriend, Jane Asher), including Nobody I Know and A World Without Love.

Waller later gave the guitar to his manager. He stashed it away in his attic, where it stayed for decades until being discovered, still in its ‘original’ Maton case.

When the decision to sell the 12-string was made, Julien’s in New York proved to be the preferred auction house. Julien’s liaised with Andy Babiuk, author of the well-respected reference work Beatles Gear, to verify this was John’s instrument.

Babiuk confirmed that Framus 5/024 Hootenanny, serial #51083, is indeed John Lennon’s guitar. His detective work focused on comparable darker patches in the wood grain in the soundhole rosette, specific features on the guitar’s top, plus likenesses in the swirl of the mock tortoiseshell pickguard.

As the Framus was in poor condition after years in an attic where huge temperature fluctuations can occur, Julien’s had to make a decision about restoring the instrument to playing status or leaving it as an unplayable museum piece. Deciding to restore, Julien’s enlisted Ryan Schuermann of LA Guitar Repair to undertake the work.

Among other things, Schuermann reset the guitar’s neck, repaired the top, steam/heat-treated the warped bridge, and dressed its corroded frets. Julien’s says it not only looks wonderful and plays fantastically well, but emits the exact tone heard on all those unforgettable numbers.

While several less auspicious Beatles instruments had previously been sold, including Harrison’s Grazioso/Futurama and Maton Mastersound, and the fretless Bartell on which he played the solo in Happiness Is A Warm Gun, the release of something so well documented on both record and film was obviously going to cause a stir.

On sale day, 29 May 2024, an unspecified buyer dipped into their pocket for an amount of $2,857,500 – so far a record for any guitar previously owned by a Beatle. With McCartney’s ‘lost and found’ Höfner bass estimated to be worth £10 million, we shudder to think what his Yesterday Epiphone Texan, John’s Get Back Casino or George’s ‘Rocky’ Strat might one day fetch.

Of course, there have been attainable reissues of all these models. And now that Framus has reintroduced the Hootenanny, you can grab a significant piece of Beatles history for a more manageable price.

• This article first appeared in Guitarist. Subscribe and save.

According to Martin, the 00DB Jeff Tweedy “quickly became a favorite among players” due to its “warm, balanced voice” as well as its “pioneering” use of Forest Stewardship Council (FSC)-certified tonewoods.

Therefore, it comes as no surprise that, thirteen years later, the acoustic giant is rolling out the mahogany-bodied model with all of its player-approved features: a deeper 00 body for added resonance, scalloped European spruce X-bracing, and a long 25.4” scale – all wrapped up in a custom Tweedy Burst finish.

“The thing I love about my guitar, the deep-body element of it, is that it has a warmth for a smaller body guitar,” Tweedy comments. “It’s somewhere between a Dreadnought and an 0-style guitar.”

As for the other signature model being rolled out – the 000 Jr E Jeff Tweedy – it's designed to be more compact while still capturing the spirit of Tweedy's 00DB.

Much like the core model, it's crafted from FSC-certified sapele with the custom satin Tweedy Burst finish. Other features include a 000 Junior body with a full 24.9" scale length, Martin E1 electronics with a built-in tuner, and a Performing Artist neck for “easy playability.”

Commenting about the 000 Jr E Jeff Tweedy, the Wilco frontman says, “The idea that we could do this again, and then also offer a guitar that may be a little bit more affordable to people starting out, and maybe a little smaller for smaller hands starting out – that's a thrill to me. Someone buys a guitar with my name on it and takes it home – I hope it becomes a part of their daily habit of making some music.”

The two models trace their origins back to the vintage Martin 0-18 Tweedy acquired in the ’90s. It turned out to be a key addition to his guitar lineup, as he used it to write the celebrated Mermaid Avenue album with Billy Bragg, which set previously-unheard Woody Guthrie lyrics to music.

That guitar “became basically part of my writing voice,” he relates. “It’s the main acoustic I’ve had my whole life.”

As for his relationship with the instrument, Tweedy sums it up as, “Well-made guitars, like the Martin guitars that you make, inspire creativity because they don’t present an obstacle to creativity.”

Priced at $3,599 and $1,149 respectively, 00DB Jeff Tweedy and 000 Jr E Jeff Tweedy are now available through authorized Martin dealers worldwide and the brand's official website.

The D’Angelico Premier Gramercy stands out as “undoubtedly, a fine guitar for the money,” crafted with attention to detail and a rather eye-catching design. With its Grand Auditorium shape and a combination of spruce and sapele for the top, back, and sides, this guitar not only looks great but also delivers a beautiful tone.

As noted in our review, “for the price, it's a lot of guitar for not a lot of money, with some nice visual appeal thrown in to sweeten the deal.”

One of the features that makes the Premier Gramercy particularly appealing is its remarkable playability. With a “comfortable neck profile” and accessible scale length, it caters to players of all sizes and skill levels. When we tested the guitar, we noted that “the action was well set up out of the box, with no significant fret buzz or sharp edges,” something that's not always the case with models in this price bracket.

Thanks to its built-in Fishman preamp, the Premier Gramercy excels in both plugged and unplugged settings, amplifying its natural tone beautifully. Plus, the tone and volume controls tucked inside the soundhole offer a cleaner aesthetic while being equally functional.

With its combination of build quality, comfort, and versatile sound, the D’Angelico Premier Gramercy is an excellent choice for both beginners and seasoned players looking for an affordable instrument for practice or performance.

Don’t miss out on this amazing deal at Guitar Center. With $136 off, you can own a guitar that “offers a lot of value for its price,” making it a worthy addition to any guitarist’s collection. Act quickly, as this deal ends today.

Head over to our Prime Day guitar deals hub, where you'll find a selection of heavily discounted guitars, amps, and pedals.

Hear the guitar in action for yourself in our demo video below

With that in mind, I have this extraordinary Gibson Southern Jumbo that’s a real sweetheart. Not only does it sound good and play superbly, it’s also pretty much pristine and has the banner headstock logo. The ‘H’ suffix with the FON stamp denotes ‘1942’, which is the first year Southern Jumbos were made – although the model wasn’t officially released until the following year.

The guitars Gibson was making during wartime often reflect a number of shortages they had to deal with. That’s why the company used various types of tuners, such as Waverlys and Grovers, and different types of wood. For instance, rosewood guitars like this one featured Indian rather Brazilian backs and sides.

They sometimes also had mismatched tops, maybe half Adirondack and half Sitka, and Gibson would occasionally put a stripe down the centre seam of the top to disguise the fact the pieces weren’t bookmatched. I’m sure there was a stack sheet showing how many guitars were supposed to be built, so Gibson did whatever they had to do to keep the production line moving.

The necks varied, too; I’ve seen photos of laminated Gibson necks from that era, rather than single piece. They usually used mahogany but sometimes maple. This guitar has the typical 1.75-inch nut width, or 1.77-inch to be exact, so it’s quite a hefty and deep single-piece mahogany neck that fills the hand completely.

I find it amazing how at that time in Gibson’s history they were able to adapt. Of course, other guitar companies had to do the same thing and I’m planning to do a deeper dive and learn more about that wartime era. Gibson retained some key craftspeople and women were trained up to work on the production line. These days, if you visit Gibson’s Custom Shop, there are still a lot of female luthiers.

When we first acquired this Southern Jumbo we noticed a repaired crack on the bass side of the upper bout. It was about two inches long, but it had been repaired a very long time ago – they did such an amazing job you need to look hard to find it. You can blacklight the area and it doesn’t even show up.

I’ve gathered a lot of information about Gibson’s wartime production and I discovered that many guitars with factory-repaired defects were shipped as brand-new guitars because they didn’t always have enough wood to fix or replace every piece. If a guitar cracked during production, they’d find a way to repair it and ship it out.

I can’t guarantee this guitar was factory-repaired, but it was done a very long time ago by someone who really knew what they were doing. There are many people who can do work of this quality these days, but back then there would have been far fewer.

Comparing the tone with a mahogany J-45 or J-50 from the same era, the rosewood produces a deeper, richer and fuller tone. In contrast, the mahogany’s tone is more focused on the midrange, which is why so many people favour them for recording. I happen to think the banner SJ would be a great live performance guitar with a bass end that carries through well.

If you grade guitars from one to 10, with 10 being the best, this banner SJ is a 9.8 because it’s like new. When we got it, I gave it to my luthier for a setup and new set of strings. He then called me into his office to show me the truss rod nut because it had never been adjusted. You can tell because Gibson sprayed lacquer over them knowing it would easily flake off the first time a wrench was used to turn it.

We’re talking about a neck that has stayed straight for decades. Considering all the crazy weather conditions we have here, that’s amazing and shows just how well they were made.

The precision was incredible, and as one of Gibson’s fancier and rarer models, you can usually expect to see higher quality wood on a Southern Jumbo than on similar but more affordable J-45 and J-50 models.

• Vintage guitar veteran David Davidson owns Well Strung Guitars in Farmingdale, New York | info@wellstrungguitars.com / 001 (516) 221-0563
• This article first appeared in Guitarist. Subscribe and save.

The backstory to John Lennon’s association with the Framus Hootenanny 12-string is a tale for another day. But the basic headlines are that Lennon bought his Framus acoustic guitar in 1964, allegedly inspired by Bob Dylan’s use of a 12-string on a recent recording.

It made its first appearance with The Beatles in the studio during the sessions for Help! and subsequently on Rubber Soul, and can be seen in the film footage from the movie Help! during the You’ve Got To Hide Your Love Away sequence.

Subsequently, the guitar was gifted to a friend and ended up packed away in an attic until its rediscovery and verification a few years ago. When it reached Julien’s auction in New York in May last year, it went for an eye-watering $2.8 million.

The good news is that Beatles fans without such deep pockets can now recreate their own fab moments thanks to Framus reissuing the exact model used on those historic recordings. And as a bonus, Framus has released a six-string Hootenanny from the same period, too. Alas, this never featured in The Beatles’ long and rich history, but it’s nice to have it along for the ride.

Of the original Hootenanny 12-string guitar, Julien’s text accompanying the auction lot states: “When strummed, it immediately identifies itself as that guitar. If you know the chords, Beatles tunes fall out of the soundhole effortlessly. Like an audio time-capsule from 1965, the Framus is a direct link to those records.”

How faithful its 21st-century doppelgänger is in that respect remains to be seen – and heard, of course – but our curiosity, particularly that of the ardent Beatles fans among our number, was stirred.

Obviously the star of the show here is the 12-string and so that was the instrument we first plucked from its case. The first thing that struck us was the ’50s/’60s look of the guitar. It definitely is a bit of a time capsule in its own right in that respect.

We’re all used to contemporary acoustic designs, many of which, if not all, are based on guitars hailing from the big names in the USA. But back then there was a distinctly European flavour to the look of some acoustics.

For instance, how long is it since you’ve seen a floating bridge on an acoustic guitar? They were, and still are, commonplace on archtops but comparatively rare in the acoustic world. And metal string saddles are another mark of the past.

Gibson experimented with adjustable saddles on some of its mid-’60s acoustics and it’s certainly true that the ability to raise or lower the action with a thumbwheel is less time-consuming than taking a trip to a luthier to shave a bone saddle to gain the same effect.

Then there’s the archtop-like tailpiece and zero fret to take into account. All hallmarks of a different age and furnishings that help fix the Hootenanny to a point in time.

Looking past the guitar’s inherent quirkiness, we find a spruce top with sapele back and sides. Lennon’s original had mahogany for its back and sides, but while this is a diversion from the ’60s spec, sapele is a good enough substitute.

Another surprise is the nitrocellulose finish throughout, and beyond that Framus offers a variety of different finishes for both models including sunburst, high polish or satin.

The neck is mahogany with a distinct wide and shallow D profile; it shares many characteristics with that of a classical guitar in that respect. And the likeness to classical guitars doesn’t end there as the rosewood fingerboard is completely flat with no radiusing at all.

While we’re down the business end, we’ll add that the frets are very low, too. Not 1950s Gibson Fretless Wonder low, but at 0.96mm they’re on the skinny side. As a comparison, a Les Paul Standard we have to hand measures in at 1.29mm fret height.

The six-a-side tuners have Kluson-like casings and vintage-inspired white buttons and the truss rod cover is gold-coloured metal that has been embossed with the Framus logo. It’s also a nice touch that both guitars come with a choice of two different self-adhesive scratchplates that you can choose between to complete that 60s look.

The spec sheet tells us that the Hootenanny is a “round-shouldered dreadnought”, but it’s a little more trim than the standard 380mm to 400mm widest-point dread dimensions at 374mm. Once again, overall, the body doesn’t look too far off from the outlines of a classical guitar, rather than the bulk of a contemporary D-18 or J-45.

Whereas you might expect the 12’s six-string sidekick to be essentially more of the same, and this is true in terms of body furnishings and materials, it goes rogue when it comes to body shape. Once again the spec hails the six as a “round-shouldered dreadnought”, but it is decidedly smaller.

To look at it without a tape measure in hand, you’d swear it was more of a folk size or a slightly more meaty 00. In any case, the Hootenanny 6-string arrives with an attractive dark sunburst and a satin finish. As we’ve said, many of the 12’s construction details are to be found here, including the tailpiece, floating adjustable bridge, spruce top and sapele back and sides.

It certainly maintains that unmistakable ’60s vibe of acoustic guitars from Europe found on its sibling. Obviously, the neck dimensions are different – although we still have those low frets and flat fingerboard – but the profile is a more comfy C, rather than the 12’s D.

Casting a critical eye over both instruments reveals that the build is good in both cases, but the crux of the matter is how they sound. Will we be able to summon up the 12-string spirit of Lennon and Harrison? There’s only one way to find out...

Specs

Framus Hootenanny 6-string

• Price: £809 (approx. $1,040 – inc hard case)
• Origin: China
• Type: Round shoulder dreadnought
• Top: Sitka spruce
• Back/Sides: Sapele
• Max Rim Depth: 113mm
• Max Body Width: 372mm
• Neck: Mahogany
• Scale Length: 643mm
• Tuners: Vintage-style, closed nickel, ivory coloured buttons
• Nut/Width: Bone/44mm
• Fingerboard: Rosewood
• Frets: 19
• Bridge/Spacing: Height-adjustable rosewood with metal saddle
• Electrics: N/A
• Weight (kg/lb): 1.45/3.2
• Options: Finishes only: Vintage Natural High Polish or Sunburst High Polish (£899), Vintage Natural Nitro High Polish or Sunburst Nitro High Polish (£989)
• Range Options: Hootenanny 12-String
• Left-Handers: No
• Finish: Vintage Sunburst Satin

Framus Hootenanny 12-string

• Price: £1,050 (approx. $1,145 – inc hard case)
• Origin: China
• Type: 12-string dreadnought
• Top: Sitka spruce
• Back/Sides: Sapele
• Max Rim Depth: 114mm
• Max Body Width: 374mm
• Neck: Mahogany
• Scale Length: 645mm
• Tuners: Vintage-style closed nickel, ivory-coloured buttons
• Nut/Width: Bone/50mm
• Fingerboard: Rosewood
• Frets: 19
• Bridge/Spacing: Height-adjustable rosewood with metal saddle
• Electrics: N/A
• Weight (kg/lb): 1.99/4.4
• Options: Finishes only: Vintage Natural Satin or Sunburst Satin (£870), Vintage Natural High Polish or Sunburst High Polish (£960)
• Range Options: Just the Hootenanny 6-String in either plain or sunburst finishes (as above)
• Left-Handers: No
• Finish: Vintage Natural Nitro High Polish
• Contact: Framus

Playability and sounds

We’ve all heard the jokes about the time it takes to tune a 12-string, but we were a little taken aback with our initial experiences with the 12 in this respect. Having tuned each individual string with a Peterson tuner, our first exploratory chord was still way out of tune.

Testing the guitar’s intonation at the 12th fret we found that it was out by a semitone. In other words, instead of an E on the top string at the 12th fret, we were greeted by an F. Something was wrong here and, as always, the prime suspect was the position of the bridge and, sure enough, it was in completely the wrong position.

This is something every seasoned archtop player will have encountered at one time or another and it’s a relatively easy fix with a floating bridge… but it’s a time-consuming bout of trial and error, nonetheless.

A little while later and everything was ship-shape in the intonation department and so we returned to listening to what the Hootenanny had to say for itself. Initial probing strums revealed a very bright sound, no doubt helped along by the zero fret at one end of the scale length and that metal saddle at the other.

It’s doubtless that the tailpiece and floating bridge contribute to the slight ‘unamplified archtop’ timbre we detected, too. We took a listen to The Beatles’ You’ve Got To Hide Your Love Away and John’s 12-string there does have that similar trebly edge to it and so this guitar passes the ‘Fab Four’ test.

As far as playability and feel are concerned, the wide flat ’board and those low frets take a little getting used to, but once we’d spent some time playing, we found we could pretty much forget about both these factors and get on with the job of executing just about every 12-string guitar part we could remember.

Over to the Hootenanny 6-string and we immediately categorised the sound as being rootsy, bluesy with a touch of front-porch Americana on the side. We’re sure the tailpiece and floating bridge play a serious sonic role here as both guitars share very similar traits.

If Delta blues is your thing, there’s a lot to be recommended, but if you’re looking for a more modern Martin/Gibson dread experience, you’re not going to find it with the Hootenanny. However, we’re happy that both instruments are exactly what they’re set out to be: snapshots of the past.

Verdict

Verdict: ★★★★☆

With instruments so specifically aimed at the target of yesteryear and with – as far as the 12 is concerned – a very specific instrumental voice, it’s always hard to judge them without letting any prejudices inspired by playing and listening to big-league acoustics for many years cloud your vision.

But that’s really not what these Hootenanny guitars are all about. These are voices from the past and will appeal to players who are seeking the particular niche that they represent.

Guitar World verdict: It’s true to say that there are guitars out there that would do a similar job – and many of them may cost less. But if it’s the whole ’60s chic, floating bridge, jazz-box tailpiece and (as far as the 12 is concerned) Beatles association that appeals to you, then we’d recommend you seek them out.

Hands-on videos

Thomann

• Best 12-string guitars 2025: our pick of 12-string acoustic and electric guitars
• This article first appeared in Guitarist. Subscribe and save.

Much to their delight – Åkerfeldt went so far as to call the museum “the Holy Land” – the two guitarists were given free rein to take even the museum's most valuable acoustic guitars for a spin.

Though he wasn't particularly impressed by the Kurt Cobain-owned 1953 D-18 that the Nirvana frontman affectionally called “Grandpa” (not to be confused with the $6 million D-18E Cobain used for Nirvana's legendary MTV Unplugged performance), there was one 19th century model that was so pristine Åkerfeldt was scared to play it.

Never mind all that, though.

Today (September 26), at the Guitar Summit in Mannheim, Germany, Martin unveiled the OM Mikael Åkerfeldt, a luxurious, limited-edition stunner of a signature guitar. Those historic models Åkerfeldt tried that day, he says, pale in comparison to his and Martin's new creation.

“Is this the best guitar I've ever played? Including the ones in your museum? I believe so,” he said in a press release. “It just sings – the resonance, the clarity, the low end. Everything about it feels magnificent.”

Luckily for us, our very own Matt Owen happens to be at the Guitar Summit, and stopped by Martin's booth to snap some up-close pictures of the new model.

The new acoustic is all luxury from top to bottom: a torrefied spruce top with a Guatemalan rosewood back, an East Indian rosewood wedge, European flamed maple binding, and a herringbone trim.

The fingerboard is ebony, there are Liquidmetal bridge pins, and, man, peep those mother-of-pearl Roman numeral inlays.

Moving to the interior, one finds VTS-treated spruce and Golden Era scalloped X-bracing, a lá Martin's Modern Deluxe Series.

But the guitar's calling card is its speed-friendly Low Profile Velocity neck, which marks the first time the modern-minded neck – found on the company's much-lauded SC line – has been fitted onto a traditional Martin body. There's where the metal comes into play, eh?

In commemoration of Åkerfeldt's year of birth, 1974, the OM Mikael Åkerfeldt Signature will be limited to a run of 74 models worldwide, with each coming with a laser-etched stainless-steel label and custom Harptone case. It rings up at $6,999.

For more info on the guitar, visit Martin.

Our story starts with Rob Cavallo, an extraordinary record producer whose name is synonymous with some of the most recognizable sounds in modern music. Cavallo has worked with a dazzling array of celebrated artists, helping them to craft their signature sounds. Among his many tools of the trade, one instrument stands out: his cherished Taylor guitar, affectionately nicknamed Excalibur.

At first glance, Excalibur may not seem impressive, but its bright, shimmering tone has inspired countless players to pick up the guitar and embark on their own musical journeys. Speaking in a video on the Taylor Guitars YouTube channel, Rob reveals that the instrument has been featured on numerous hit songs, saying, “This actual guitar has been on something like 10 number one records.”

As for the build, the Taylor 514C is a quintessential model from its era. Produced between 1995 and 1997, it features the classic Grand Auditorium body style that Taylor is known for. With a mahogany back and sides, a western red cedar top, a tropical mahogany neck, and an ebony fingerboard, this guitar is as beautiful in construction as it is in sound.

Join us as we explore Cavallo's deep connection with Excalibur, unveiling a treasure trove of songs you probably didn’t know were recorded with this fabulous Taylor guitar. Get ready to discover the stories behind the music and the magic of a guitar that has quietly left an indelible mark on the acoustic landscape.

Green Day

It could be argued that Green Day’s Good Riddance (Time of Your Life) has sparked the sale of more beginner acoustic guitars than any other song from the late '90s. In fact, it was the very first acoustic piece I ever attempted to play. For those wanting to delve deeper than strumming along, the music video might seem to be a helpful resource for identifying the guitar and replicating that iconic sound. However, as you've probably guessed, that isn't the case.

While Billie Joe is seen playing a Gibson acoustic guitar in the video, specifically a Gibson J-45, the actual recording features Cavallo's Taylor 514C. The guitar’s bell-like chime and crisp top-end are so distinctive that it’s hard to envision the song being captured with anything else.

Billie Joe and Co. would enter the studio again with Cavallo for 2004’s American Idiot, and yet again they called on the tone of Excalibur to grant them another hit, Boulevard of Broken Dreams. It would actually be this very recording session that Billie Joe would bestow the name of the legendary sword of King Arthur onto this guitar.

Goo Goo Dolls

It's hard to overestimate the impact that Iris had on the Goo Goo Dolls. Released as part of the soundtrack for the 1998 film City of Angels, the song also found a home on their sixth studio album, Dizzy Up the Girl.

Iris quickly became a massive hit, a song so universally recognized that even those who don’t know the band often find themselves humming its melody. Frontman John Rzeznik shared some insights with Guitar World in issue 0581, highlighting the pivotal role that producer Rob Cavallo played in its success. “When I was making the demos, I was laying down the string parts with a synth", he says. "But the way that Rob Cavallo took the song and brought in a really powerful string section — that was a major shift," Rzeznik recalled, marking it as a significant turning point.

At its core, Iris revolves around a simple yet captivating acoustic guitar sequence, once again featuring the beloved Taylor 514C. This combination of heartfelt lyrics and a hook that refuses to leave your head after the first listen created a lasting resonance that still captivates listeners today.

Eric Clapton

While Blue Eyes Blue may not be Eric Clapton's most celebrated acoustic masterpiece, especially when compared to the emotional depth of Tears In Heaven, it still made a notable impact. Written by the talented Diane Warren specifically for the 1999 romantic comedy Runaway Bride, starring the charming duo of Julia Roberts and Richard Gere, the song found its way onto the charts in many countries, including the US and Canada, and reached number one in Japan.

The song was recorded by Eric Clapton and Cavallo – and yes, yet again they used Excalibur. Cavallo recalls that Clapton was especially enamored with the song's tone.

In fact, Clapton loved the richness of the Taylor guitar so much that he asked to borrow it, and wouldn't give it back for nearly nine months while he worked on writing and recording a different project. As you can imagine, this left Rob in suspense, wondering if he would ever see it again. Thankfully, Eric returned the guitar, and it would continue its journey from hit to hit.

Alanis Morissette

One of the standout tracks from the City of Angels soundtrack is Uninvited, performed by Alanis Morissette. Originally written for the film, the song transcended its cinematic roots to become a powerful anthem in its own right. Morissette, known for her emotive vocals and introspective lyrics, wrote and co-produced the song with Rob Cavallo.

Uninvited features a haunting piano line that perfectly complements Morissette's poignant delivery. The song’s instrumentation, while primarily centered around the piano, also includes Cavallo’s deft guitar work, adding depth and texture to the arrangement, and yes, you guessed it, the guitar being played was the same Taylor 514C.

The combination of the delicate piano and the subtle, yet impactful, guitar creates a moody atmosphere that reflects the song's themes of longing and vulnerability. Upon its release, Uninvited received widespread acclaim and even bagged Alanis the Grammy Award for Best Female Rock Vocal Performance in 1999.

Shinedown

Second Chance, released by Shinedown in 2008 as the lead single from their album The Sound of Madness, marked a pivotal moment in the band's career. The song, with its powerful blend of hard rock sensibilities with a light acoustic backing, made it a mainstay on rock radio and remains a fan favourite to this day.

You can clearly hear the Taylor 514C being strummed delicately at the top of the song, and it continues to lay foundations for the heavier elements as the track continues.

Speaking to Total Guitar in issue 0233, guitarist Zach Myers tells us what it's like to work with Cavallo on the track. “He’s a bit of a guitar titan – a really, really good guitar player. When he does a record, he’s really into the whole record, but guitars get the most attention because he’s a guitar player."

Second Chance achieved impressive chart performance, reaching the top ten on the Billboard Hot Mainstream Rock Tracks chart and earning multi-platinum status.

That’s what KapSoul is offering: a full-sized urn that you can secret inside an acoustic guitar’s soundhole – and it looks like one of those soundhole plugs you use to tame feedback on loud stages.

This is a product that not only makes us think of guitar accessories from way out of left field, but also of unorthodox burial solutions, too. It’s certainly up there, an innovation that’s either poignant and beautiful or morbid and gross, and probably no in between.

And for anyone whose soul drains from their body at the sight of someone producing an acoustic guitar and a capo – always with the capo – at a house party, it could be a form of performative Hell.

But Mike Grande, the inventor of KapSoul, is deadly serious. While it is not quite full-size, holding 14 cubic inches of human or pet cremains, this isn’t a pretend urn. It’s fashioned from PPH, fits any 3” soundhole on guitars with a minimum body depth of 3”, and when sealed it stays sealed, protected from leakage or atmospheric moisture.

Though we would caution against lending the KapSoul-equipped acoustic to your neighbourhood Andy McKee, just in case.

“For countless souls who strummed the strings of their favorite acoustic guitar, or for those who cherished one who did, music is an inextinguishable passion upon hearts and spirits that will forever resonate through eternity keeping the memories of our departed loved one always alive and present,” says KapSoul.

“What is a more fitting tribute to honor your beloved departed, who conveyed their emotions through melodies played on their acoustic guitar, then memorialized interment in their favorite instrument?”

If you wanted to protect the dearly departed from ham-fisted renditions of Fire And Rain, you could always mount the guitar on the wall or behind a Perspex case, which might be the most tasteful way to do this, especially as the device naturally mutes the soundhole.

“Acoustic natural resonance, volume and fidelity will be somewhat dampened, unless the instrument is amplified,” notes KapSoul.

Many players might have different ideas for their acoustic, such as passing it down to their heirs, keeping the music going, but if not you can get the KapSoul urn for $149.

Visit KapSoul for more info.

The Polyphia fretboard burner first released his nylon beauty, the TOD10N, in 2022 and in 2023 it became one of the year’s best-selling guitars. The following year, Ibanez tapped into its success with the Henson-esque FRH10N, while months later, a left-handed version was finally let out into the wild.

The recipe of the build was an instant fan favorite. Now, some more adventurous colorways – which give Henson's own model a serious run for its money – have been introduced to the lineup.

Cosmic Blue Starburst Low Gloss and Wine Red Low Gloss finishes headline the changes, with the omission of Henson’s Tree of Death fretboard inlay design – which can also be found on his electric signature, the TOD10 – a sad but understandable one. Acrylic and abalone block inlays feature instead.

Comprising sapele back and sides, a quilted maple top, C-shaped set-in nyatoh neck, and 22-fret rosewood fingerboard, the acoustic electric guitar benefits from an undersaddle Ibanez pickup and AEQ210T preamp with an onboard tuner. It's powered by a 9V battery which is accessed by a screwed-in compartment on the back of the guitar.

Elsewhere, there's a rosewood bridge, bone nut, and Gold Classical tuners for a traditional look. Other key features from its predecessor, including its modified FR hollow body with fan bracing, designed to accommodate high fret access and a side-mounted sound hole, to encourage warm and natural tones, remain. They were key in making this such a successful build, pairing the playability of electric guitars with the sonics of classical guitars.

The Ibanez FRH20QMN is available now for $635/£569. Head to Ibanez for more.

Meanwhile, an eight-string version of the TOD10 has been teased, and Polyphia have revealed some of the guests featuring on their forthcoming album. Henson says their producer has been “coming up with the most insane sounds you've ever heard.”

They've promised the album will be “heavy” with “lots of eight-strings”, and baritone guitars will feature, too. We hope Scott LePage's stunning, and potential-signature X-type axe also plays a role.

Gibson has unveiled a “museum-worthy work of art” with its 100th Gibson Custom SJ-200 Monarch. The acoustic guitar essentially takes the much-loved SJ-200 and fits it with exquisite trimmings fit for royalty.

Its origins date back to the mid-’90s, when an “ultimate edition” of the Super Jumbo acoustic was prepared for NAMM, with details like pearloid crown inlays – a nod to the original SJ-200 inlays – showcasing its pristine craftsmanship.

Keeping with traditions, the Monarch #100 Brazilian Rosewood – the 100th build in the series – is certainly no slouch.

Described as “one of the most exclusive models produced by the Gibson Custom Shop”, this one-of-one guitar – which carries a weighty $99,999 price tag – is being hailed as “an exceptional instrument that sets a new benchmark in craftsmanship and artistry.”

Superlatives and hyperbole aside, what is going on here? Well, there’s a luxurious combination of tonewoods. See Brazilian rosewood sides, a three-piece Brazilian rosewood and AAAAA-grade flamed maple back, and AAA Sitka spruce top for a body adorned with hand-laid and engraved rosewood shield and mother of pearl and abalone crown detailing.

Then there’s a two-piece AAA maple neck with Indian rosewood stringers, a rounded profile, and a Brazilian rosewood fingerboard.

Not to be left out, the headstock veneer also features Brazil’s finest rosewood, and is bejewelled to boot. A hand-engraved crown headstock inlay – composed from 1.2 ounces of solid gold and nine 0.1-carat natural diamonds – features. There’s also a 0.25-carat diamond at the peak of the crown, because why not?

Brazilian rosewood dominates its construction for its “rich low-end and sparkling highs.” In fact, every bit of wood used has passed rigorous inspections at the Gibson Custom Wood Library in Bozeman, Montana, where this majestic build was concocted.

Other touches include a four-bar moustache bridge made from Brazilian rosewood and solid 18K gold-bordered mother-of-pearl bars, and engraved gold Waverly tuning machines. It's finished in a Tri-Tone Burst and arrives in a one-of-a-kind Gibson Custom Monarch 100 hardshell case that features a compass of sorts.

As far as acoustic builds go, Gibson has done everything in its power to make this an insane spectacle. Its luthiers are showing what they are made of, really. And it’s certainly as impressive as it is exclusive.

“In 1994, we wanted to put a stamp on what we were creating in Montana. Our builders, designers, and engineers decided to take the SJ-200 to the ultimate level and do things that have never been done before,” explains Gibson’s Don Ruffatto.

“The Monarch guitar was incredibly well-received, and it became a rare, but staple part of our builds from ’94 onward, and as we have been inching towards our #100 build, we put in the hours and designed a new Monarch 100 to create what we consider to be the ultimate Gibson acoustic guitar to date.”

Those with deep pockets can contact the Gibson Garage Nashville on (615) 933-6000 for more information. Or visit Gibson for a closer look.

For more affordable Gibson acoustics, check out its new Acoustic Specials series, the Parlor Rosewood EC for a downsized take on the SJ-200, or its new heavy metalified acoustics.

Epiphone has certainly upped its game in recent years. Whereas we were once used to seeing bargain-basement copies of famed Gibson originals, these days the brand has clearly been rummaging through its parent company’s history books to produce some extremely worthy replicas of time-honoured and highly sought-after guitars.

Hooking up with Gibson’s Custom Shop has provided us with era-specific editions, such as a 1959 Les Paul Standard, a 1959 ES-355, a 1942 Banner J-45, plus Firebirds, Flying Vs and Explorers.

Some die-hard critics have whinged a little about the price hike needed to produce Epiphone guitars that feature USA parts and electronics, solid woods and so on. But we remain with eyebrows raised at the output that has landed with us so far and consider the price tags reasonable in view of what exactly is on offer.

Okay, so we have identified the occasional flaw but, in general, everything has been pretty much in tip-top shape.

So when Epiphone told us there were six new Inspired By Gibson Custom acoustic guitars waiting in the wings, breath in these parts became somewhat bated. After all, we agreed that the Banner J-45 we reviewed was a tough one to let go at just under $1,299/£1,200. It really was that good (as the 5/5 score also demonstrated).

What is really intriguing about the trio we’re looking at today is that each comes with a little bit of historic detail. For instance, take the Pre-War SJ-200. Why this particular period? Well, when the model first appeared in Gibson’s catalogue in 1937, it had a back and sides made from rosewood and, thanks to a knock-on effect from the 1929 financial crisis in the US, only a handful of Gibson’s costly flagship acoustic ever saw the light of day.

In 1947, after supply shortages post-WWII, backs and sides were changed to maple. This means the rarer early pre-war models have become the most sought after on the collector’s market. And even 1940s SJ-200s go for around $/£15,000-plus today, so making the original spec available at a tenth of that price is very sound reasoning in our book.

We’ll look at each of these guitars individually as they are all quite different. And seeing that we’ve already begun talking about the SJ-200, we might as well start there first.

Pre-War SJ-200 Rosewood Reissue

Gibson’s history reveals that, on release, the SJ-200 “quickly earned the title ‘King Of The Flat Tops’ due to its superior sound, physical size, outstanding projection and majestic appearance”. And it certainly is something of a whopper – the ‘SJ’ in the model designation stands for ‘Super Jumbo’, after all – with a maximum body width at a very fulsome 427mm (16.8 inches).

But Gibson is right about the majestic appearance, with gold Grover Imperial tuners, real mother-of-pearl ‘graduated crown’ inlays, ornate pickguard and two-bar ‘moustache’ bridge. The pre‑war-style script logo on the headstock is a nice touch, too.

We’re reminded that this was the instrument – a ’65 borrowed from Mickie Most – that Jimmy Page used on Led Zeppelin’s first album for the acoustic tracks Babe I’m Gonna Leave You, Your Time Is Gonna Come and Black Mountain Side. Jimmy is on record saying that Mickie’s came with a tune-o-matic bridge, a Gibson experiment that only lasted for a couple of years.

Epiphone’s homage is a looker in every sense of the word. But so much for cosmetics and ornamentation, it’s time to take a peek under the SJ-200’s bonnet.

We’ve already seen that we have rosewood for the back and sides and this is complemented by a “thermally aged” spruce top, meaning the wood has been heat-treated to simulate the drying-out process that would normally take years, if not decades.

The neck is a two-piece maple affair with a rosewood ‘stinger’ to the back of the headstock. The bridge is ebony, with mother-of-pearl inlays, and both string saddle and nut are bone.

It’s interesting to note that Gibson’s paperwork for each instrument states that the Epiphone models are “inspired by” the originals, as opposed to being historically accurate dead-ringers.

The history books tell us that the 1937 models came with an adjustable bridge and a scale length of 660mm (26 inches) as opposed to the static bone saddle and 648mm (25.5 inches) we find here. In fact, the SJ-200 went through several iterations in its youth, with the spec only relatively recently settling down to the guitar we know today.

Like its siblings, this SJ is kitted out with an LR Baggs Bronze Element VTC under-saddle pickup and preamp, with the controls accessible via the soundhole.

1960 Hummingbird Reissue

Switching over to the first of our two ‘birds’, the timestamp here is the beginning of the ’60s and a whole new era in music and guitar players alike. Arguably, Gibson’s most revered of its high-end acoustic guitar range, opening the Hummingbird’s case was like greeting an old friend.

Gibson’s first square-shoulder acoustic to enter its catalogue, the Hummingbird was seen in the hands of the new breed of ’60s guitarists, notably Keith Richards and Brian Jones of The Stones and, coming more up to date, Joe Bonamassa, Gillian Welch and Thom Yorke. Second only to the J-45 as a do-it-all workhorse, this ’Bird was known for its ability to handle virtually anything from energetic strumming to sensitive fingerstyle.

Epiphone’s tribute captures the moment with a fine-looking Cherry Sunburst finish – poly here, of course – fancy pickguard, mother-of-pearl split-parallelogram inlays, bound rosewood fingerboard, gold tuners and the ‘proper’ headstock shape.

Once again we find a thermally aged spruce top, but this time the back and sides are mahogany, as is the one-piece thermally aged neck. Bridge pins, string saddle and nut are all bone and the ‘belly up’ bridge itself is rosewood.

In contrast to its two companions, the Hummingbird’s scale length is 629mm (24.75 inches), which is more familiar to players who pack a Les Paul and, again, if you’re thinking of taking the Hummingbird to your next gig, it’s stage ready with that LR Baggs Bronze Element VTC.

1963 Dove Reissue

Our third glimpse into Gibson’s acoustic past comes in the form of the Dove. First introduced in 1962 as the company’s second square-shoulder acoustic, our Epiphone model is, according to the spec, “a stunningly authentic recreation of the iconic early Dove models from 1963”. Why not 1962? That’s not clear.

The Dove was partnered with some impressive names from the pop and rock world, too, with artists such as Elvis, Tom Petty and Alex Lifeson among its many fans, but it perhaps doesn’t quite have the same legendary status as the other two models here.

Its spec is similar to the Hummingbird, save for the fact the Dove’s back and sides are flamed maple, as opposed to mahogany or rosewood. We’ve also returned to the longer 648mm (25.5-inch) scale length, as opposed to Hummingbird’s shorter version.

A closer look at the body woods reveals that the top is, as before, thermally aged spruce, but this time the finish is Natural and so more grain information is evident. There’s a slight mottling to the top – we’re not clear whether this is a clear coat of poly that hasn’t been evenly applied, or just that the torrification process sometimes produces this effect. In any case, it’s only slight and miles away from a dealbreaker.

The maple is gloriously stripy on the sides, but the back shows only a slight rippling effect. The Dove has a one-piece mahogany neck with an Indian rosewood fingerboard, mother-of-pearl split-parallelogram inlays, and Kluson Waffleback tuners with metal keystone buttons.

As far as decorative features are concerned, the Dove-style pickguard is a work of art, with the mother-of-pearl dove reflected in the bridge.

Needless to say, electronics are courtesy of an LR Baggs Bronze Element VTC once again. So the next stage is to hear how these historic reissues sound in action.

Specs

Epiphone Pre-War SJ-200 Reissue

• Price: $1,499/£1,399 (inc case)
• Origin: China
• Type: Super Jumbo
• Top: Thermally aged spruce
• Back/Sides: Rosewood
• Max Rim Depth: 123mm
• Max Body Width: 427mm
• Neck: Maple
• Scale Length: 648mm (25.5”)
• Tuners: Grover Imperial
• Nut/Width: Bone/44.2mm
• Fingerboard: Ebony
• Frets: 20
• Bridge/Spacing: Ebony/55mm
• Electrics: LR Baggs Bronze Element VTC
• Weight (kg/lb): 2.5/5.6
• Left-Handers: Yes
• Finish: Vintage Sunburst

Epiphone 1960 Hummingbird Reissue

• Price: $1,299/£1,099 (inc case)
• Origin: China
• Type: Square-shoulder dreadnought
• Top: Thermally aged spruce
• Back/Sides: Mahogany
• Max Rim Depth: 123mm
• Max Body Width: 404mm
• Neck: One piece mahogany
• Scale Length: 629mm (24.75”)
• Tuners: Epiphone Deluxe with green keystone buttons
• Nut/Width: Bone/44.91mm
• Fingerboard: Indian rosewood
• Frets: 20
• Bridge/Spacing: Rosewood/56mm
• Electrics: LR Baggs Element Bronze VTC
• Weight (kg/lb): 2.08 /4.6
• Left-Handers: Yes
• Finish: Heritage Cherry Sunburst

Epiphone 1963 Dove Reissue

• Price: $1,399/£1,099 (inc case)
• Origin: China
• Type: Square-shoulder dreadnought
• Top: Thermally aged spruce
• Back/Sides: Figured maple
• Max Rim Depth: 121mm
• Max Body Width: 404mm
• Neck: Thermally aged mahogany
• Scale Length: 648mm (25.5”)
• Tuners: Kluson Waffleback with metal keystone buttons
• Nut/Width: Bone/42.9mm
• Fingerboard: Indian rosewood
• Frets: 20
• Bridge/Spacing: Rosewood/55mm
• Electrics: LR Baggs Element Bronze VTC
• Weight (kg/lb): 2.1/4.8
• Left-Handers: Yes
• Finish: Natural
• Contact: Epiphone

Playability and sounds

Returning to the SJ-200, and before we’ve even played a note, our attention is drawn to the weight and bulk of this guitar. As far as the actual proportions are concerned, well, it is what it says on the tin – a Super Jumbo.

So you’d expect a guitar with that designation to be something that’s a bit of a lapful. A lower-bout body-width of the aforementioned 427mm is certainly not for the faint-hearted, after all.

Where the weight is concerned – all 2.5kg (5.6lb) of it – we suspect this is down to the fact that timber can swing between super-light to 1970s Les Paul Custom super-heavy, depending on what manufacturers have in the factory at the time. So your experience here could vary. Aside from that, it’s a big guitar and so it’s going to weigh in more than, say, a dreadnought or OM.

Epiphone describes the neck profile as being a “round D” and at 22.3mm deep at the 1st fret it certainly feels quite chunky. Action at the 12th fret is slightly higher than we’d choose – at just under 3mm on the bass side, if your preferred string-height is lower, the saddle would need a minor adjustment.

The nut could probably have done with a few more minutes on the workbench, too, as a couple of the strings were a little ‘sticky’ on tuning and some of the slots were cut too high.

However, when we played our first chord, all the minor niggles vanished as the SJ showed its true character – it’s loud, proud and possesses all of that wonderfully woody depth and tone for which this model is renowned.

And for only a fraction of what the Gibson equivalent would cost, too. If you were looking for those Jimmy Page Led Zep I acoustic tones, they’re all here – and you’d be ready to take centre stage, thanks to the onboard LR Baggs Bronze Element VTC.

Freeing the Hummingbird from its case, its dreadnought body size, lighter weight and shorter scale-length all deliver a sense of compactness, after the bulk and weight of the SJ.

The neck profile here is what Epiphone enigmatically refers to as merely “rounded”, but we measured the 1st-fret neck-depth at a substantial 23mm. A close look at the nut revealed the Hummingbird has fared better than its bigger sibling, but, alas, the action is still higher than we would like.

Once again, though, sitting and playing the instrument turned out to be easily on a par with what we found on the SJ. It sings. Simple as that. Volume and power is combined with that familiar woody sweetness and authority throughout the range and it certainly doesn’t suffer from a lack of bassy grunt, either. It definitely has that Gibson vibe to the sound, but for only a fraction of the cost.

The Dove sits well in line with its two partners in that the action is on the high side, but the cut of the nut is definitely the best of the three. And with a 1st-fret neck depth of 21mm, we’re back to a slimmish C profile – although Epiphone still refers to it as simply “rounded” here, too.

Sound-wise, that maple back and sides, and possibly the longer scale, brings brightness to the sound picture, but all the power that we’ve already met from the other two guitars is still present. It’s as if someone has turned up the treble control on your amp a little, that’s all. Otherwise, it’s a similar ride to the others.

The LR Baggs acoustic guitar pickup system is common to all three and it proved a faithful companion to have onboard, giving a very good representation of the guitars’ acoustic characteristics.

Verdict

Verdict: ★★★★☆

It’s difficult to know where to start when summing up these three new Epiphones. However, the first thing that springs to mind is the value for money when compared with their Gibson forebears.

Each of our Epiphones give a very good account of themselves in the sound stakes – the SJ and the Hummingbird probably neck and neck for their rich and sonorous acoustic sound. The Dove slips very slightly behind due to its more trebly response not being to everyone’s taste. But this is only by a little, and let’s not forget that sound can be very subjective.

Then there are the niggles. We would say that if these guitars have been set up to a factory standard then it needs reviewing because lower actions on acoustic guitars are largely what’s expected these days. A little more care with cutting the nuts wouldn’t go amiss, either. It must be emphasised, however, that both these factors could easily be sorted at point of sale since.

Guitar World verdict: Many guitar shops have their own in-house tech to put things right with he setup, so you’d end up with an extremely nice acoustic guitar at a very affordable price. As always, it’s very much a case of seeking these new models out and auditioning them for yourself. You might just find you’re as impressed as we were.

Hands-on videos

Epiphone

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• “Makes you forget the fact that one of these will cost you a fifth of what you’d pay for something with the Murphy Lab moniker”: Epiphone Inspired By Gibson Custom 1962 ES-335 Reissue review
• This article first appeared in Guitarist. Subscribe and save.

But there’s more to Mirador’s gear pie chart – including a pair of recently acquired, one-off custom black Martin 00 12-fret guitars. Both instruments – which were heavily featured when Kiszka and Turpin shot some video over at Guitar World HQ in mid-May – have Adirondack spruce tops and highly figured Wild Grain East Indian rosewood backs and sides.

Both of these Martin guitars feature slotted headstocks, V-neck profiles, pyramid bridges, Golden Era bracing, low-gloss finish and hide-glue construction. Each guitar also was uniquely aged to Kiszka and Turpin’s specs.

Last but not least, each guitar has the Mirador logo inlaid in abalone pearl; on Kiszka’s guitar, the logo spans the 14th to 19th frets on the fingerboard; on Turpin’s guitar, it appears under the Martin logo on the headstock.

• Mirador is available to pre-order now via Universal.
• This article first appeared in Guitar World. Subscribe and save.

Tradition can be a gilded cage for guitar companies with a long and famous history, such as Martin. On the one hand, Martin’s original D-28 is, to this day, most people’s mental template for what an acoustic guitar should sound and look like.

But historic brands like Martin can’t just keep on selling the past to players who are already deeply invested in the heritage. They have to innovate, attract new players and persuade people that they are still a growing, evolving force in guitar making.

To Martin’s credit, it's made careful but persistent efforts to do just that over the years – notably with the offset-bodied, exceptionally playable SC Series. But the more recent Inception series of guitars has a poise, polish and maturity that challenges high-end modern makers such as Lowden at their own game.

This GPE model is the first non-cutaway guitar to appear in the Inception series, which debuted at NAMM in 2024, and the choice of maple as the main material for the guitar’s body is central to the whole design mission behind the range.

Specs

• Launch price: $4,199 / £4,349 / €5,399
• Made: USA
• Type: Non-cutaway electro-acoustic
• Body: Maple and black walnut
• Neck: black walnut
• Fingerboard / Radius: Ebony / 16-inch
• Scale length: 25.4 inch
• Nut/width: 1 ¾-inch (44.45mm)
• Frets: 20
• Hardware: Open-gear gold tuners
• Electrics: LR Baggs Anthem pickup system
• Weight: 4.56lbs / 2.07kg 
• Left-handed options: Yes
• Finishes: Amber Fade Sunburst
• Case/gig bag: Molded hardshell
• Contact: Martin Guitar

Build quality

Build quality rating: ★★★★★

With tropical hardwoods such as mahogany and rosewood in dwindling supply, Martin wanted to take a second look at maple – a sustainable northern species – but design a guitar from scratch to get round some of its traditional limitations as a tonewood.

Martin’s Fred Greene described the challenge like this: “Maple can sound a bit stiff. You get a strong, quick fundamental note… and then it decays quickly and you just don’t get a lot of nuanced overtones over the top of that.”

Martin’s solution to those issues was to introduce a beautiful curved, wedge-shaped panel of black walnut (another sustainable tonewood) to the back of its Inception guitars, to lend a softening effect to the overall sound. The real innovation takes place beneath the European spruce top, however.

To voice the maple body to deliver more subtlety and richness, Martin used what it calls ‘skeletonized X-bracing’ to support the soundboard. Essentially, instead of the solid, scalloped bars of wood we might normally expect under the top of an acoustic guitar, this skeletonized bracing has a honeycomb structure that offers huge strength while reducing deadening weight.

Additionally, Martin has cut ‘tone channels’ into key areas of the underside of the soundboard. These shallow grooves allow the most resonant areas of the top to vibrate more freely, further reducing the ‘stiffening’ influence of that maple body on the guitar’s voice. That’s the broad idea, anyway.

On the new GPE Inception Maple model, these core features have been combined with a black walnut neck, meeting the body at the 14th fret with a 25.4-inch scale and a fairly shallow, slender profile Martin calls a GE Modified Low Oval.

The fingerboard itself is FSC-certified ebony, as is the Sloped Modern Belly bridge, which features bone bridge pins, in keeping with the guitar’s sustainability theme.

The maple body itself is attractively flamed, the rich, rippling patterns of the wood just visible beneath the smoky Amber Fade Sunburst finish – a typically understated Martin touch, similar in intent (I assume) to Taylor’s maple-bodied 600 Series guitars, which also featured warm cognac-toned finishes to trick the mind into not thinking ‘bright sounding’ when you see maple.

Playability

Playability rating: ★★★★½

Picking the guitar up, I'm struck by how nicely rolled-in the fingerboard edges feel.

Combined with the satin finish on the neck, it’s an immediately engaging tactile experience and the 1 ¾-inch (44.45mm) nut width invites easy fingerstyle playing without feeling a stretch for strummers.

And that’s just as well, because the GPE Inception Maple has a really potent voice when strummed – it doesn’t collapse when hit hard but instead yields a focused, harmonically rich sound that could be a great asset in the studio for modern country or rock tracks.

Switching to fingerstyle, you have to admire how Martin has extended the strong initial attack of maple into a silk-smooth sustain with crisp harmonic detail.

Sounds

Sounds rating: ★★★★½

The overall impression is of elegant strength – this is not a warm, woody 60s folk-club kind of guitar. It’s a guitar to play bold, beautiful celtic or Appalachian melodies on, with a carrying, harp-like quality that would really suit eloquent but spirited players from the school of Martin Simpson or Tommy Emmanuel.

It also has plenty of well-defined low end, too, something that’s sometimes just a tad lacking in Taylor’s V-Class-braced guitars of comparable size, such as their Grand Auditorium models.

Verdict

The guitar also features an LR Baggs Anthem acoustic guitar pickup system – combining an internal mic with an undersaddle pickup – and I'd like to know how Martin has kept the input separate from the endpin, avoiding an outsize button to cram a strap eyelet over and allowing easy battery access in the same end-plate.

high-endPlugging in to my Trace Elliott acoustic amp, the value of the guitar’s punch, composure and drive really shines through. Amplified, this guitar is thrilling to play and the combination of playability, poise and articulate power means you can really immerse yourself in plugged-in performance.

Guitar World verdict: Anyone buying a high end guitar knows it’s often a game of diminishing returns. But with the Maple GPE Inception Martin offers something new, compelling and powerful – and if it speaks to you, you’ll find yourself in possession of a real thoroughbred.

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• Best Martin guitars 2025: we rank the legendary acoustics of an industry icon

”One of the key updates,” says Martin, “is the use of Sitka spruce Golden Era [GE] top bracing, as featured on the Modern Deluxe Series. It offers a more vintage, ‘breathy’ tone with enhanced sustain.”

Along with this comes a GE modified low oval neck profile, “optimised for vintage appeal with minimal increase in total mass”. Other playability enhancements include a thinner fingerboard with comfort bevelled edge, and more smoothly contoured belly bridge with bone (or sometimes ebony) pins.

Aesthetic updates include a long diamond volute, angled bone nut and a sleeker-looking heel.

A big usability hike is that the jack socket, end-pin and flip-top battery compartment are mounted on a plate at the base of the body. So no more scrabbling around trying to fish out that dead battery.

The OM-28’s staple ingredients remain, of course, such as Indian rosewood back and sides, Sitka spruce top, ‘select hardwood’ neck, an ebony ’board with abalone ‘diamonds and squares’ inlays, ebony bridge, herringbone purfling, rosewood headstock overlay, and gold transfer decal. Tuners are Waverley-style open gear.

LR Baggs’ renowned Anthem system combines a studio-quality condenser mic with Baggs’ Element pickup to provide a transparent tone that’s good enough to plug directly into a recording desk or to supply a brilliantly balanced out-front sound.

While Martin’s 000 and OM models share the same body shape and size, the OM’s scale length is 645.2mm (25.4 inches) compared with the 000’s 632.5mm (24.9 inches).

That extra half an inch provides a slightly tauter feel, for a snappier tone with strong lows and mids but plenty of top to cut through. Fingerstylists love OMs for their clarity and projection, plus the wide 44.45mm nut. But they remain great strummers, too.

The thinner, bevelled-edge ’board and lower action, plus all the other little tweaks that Martin has applied, leave the smallest ever quality gap between these instruments and Custom Shop models costing way more. While four grand is no snip, this is everything one could want in a top-grade electro-acoustic guitar.

• The Martin Standard Series OM28E is out now, priced $3,899/£4,099. See Martin Guitar for more details.
• This article first appeared in Guitarist. Subscribe and save.

According to the Belfast Telegraph, “Sources close to staff at George Lowden Guitars Ltd told Business Telegraph some employees have been informed their jobs are at risk because of ongoing losses due to a decline in demand.”

However, in a statement supplied to Guitar World, Lowden Guitars' Managing Director, Aaron Lowden notes, “We are carefully assessing how best to navigate current industry challenges," following a slowdown in the global guitar market and “the natural end of the acoustic guitar boom experienced during the COVID-19 period.”

Lowden insists, “No decisions have been made and we are engaging closely with our entire team to explore all viable options, including cost-saving measures that could help us avoid redundancies wherever possible and strengthen the company for sustainable future growth.”

According to the Telegraph, several staff members received a letter signed by the Managing Director, stating the company “has a business need to become more efficient and reduce operational costs due to continued loss-making because of demand reduction in the market.”

Meetings were reportedly held last week with those potentially at risk of losing their jobs. These individuals were then “invited” to offer suggestions for ways to avoid being made redundant and explain why they should not be selected. According to the journal’s reports, the Managing Director “outlined his willingness to communicate further with staff,” with further meetings with affected individuals slated for later this month.

The Telegraph's research also revealed that the company's accounts were last filed for the year ending March 31, 2024. The company – George Lowden Guitars Limited – held £3.1 million ($4.2 million) in assets at the time, of which £2.3 million ($3.12 million) was stocks, £586,000 ($796,060) owed by debtors, and £262,000 ($355,929) cash at bank and in hand.

Furthermore, it owed £3.8 million ($5.16 million) to creditors – due within one year – with a further £137,000 ($186,116) due after that. The investigation also showed that, of this amount, £1.8 million ($2.45 million) was owed to group undertakings, £535,000 ($726,762) was due in bank loans and overdrafts, and £694,000 ($942,761) was owed to trade creditors.

Founded in 1974 by George Lowden, the Northern Irish company has grown in reputation over the years, with Ed Sheeran, Eric Clapton, and Lewis Capaldi all wielding its guitars.

Last year, the company celebrated its 50th year in business and unveiled a collection of 50th Anniversary acoustic guitars to celebrate the significant milestone.

Taylor never stands still for long and the company’s ongoing mission to review, upgrade and remodel its inventory is typical of a brand that is intent on remaining at the cutting edge of acoustic guitar design and manufacture.

According to our records, the last time the 500 Series enjoyed a refresh was in 2022. Three years later and there’s movement within the line once again.

The 500 Series has proved to be a popular one among players internationally and so it’s really no surprise that change is afoot in this quarter. Furthermore, the Builder’s Edition we see here is a rather splendid-looking beast with considerable visual impact from the moment it’s drawn from its hard case.

We’ve seen plenty of Builder’s Edition instruments from Taylor pass through these pages before, celebrating models from the catalogue with upgraded features and constructional fillips such as bevelled arm rests and refreshed tonewood partnerships.

Of this particular 514ce, Taylor says: “The Builder’s Edition 514ce Kona Burst embodies Taylor’s commitment to innovative craftsmanship, player-friendly guitar designs and sustainable sourcing.” Interest piqued? So is ours.

First of all, though, and in order to appreciate the embellishments present in its slightly more lavish companion, we’ll just take a look at what the standard 514ce comprised in terms of its sum of parts, as it will then provide a context for the changes Taylor has made to the model’s spec.

Taylor has always held conservation close to its heart and painstakingly sought out woods from sustainable sources, and the outgoing 514ce’s back and sides tonewood is a great example of this.

Here, it was red ironbark, sourced from urban trees in California that were reaching the end of their city life. It’s a wood that, according to Taylor, has “the warmth and clarity of Indian rosewood”, and that “strummers will appreciate the volume and projection, while fingerpickers will enjoy the definition and dynamic range”.

Paired with torrified Sitka spruce for the top and master builder and company CEO Andy Powers’ revolutionary V-Class internal bracing, we found a real musical chameleon in our hands.

Its sound has warmth but with the necessary balance and brightness to cut through in a stage environment, a situation that is further enhanced by its Expression System 2 internal pickup and preamp. In truth, the Builder’s Edition is going to have to take some long strides, sonically speaking, to beat what we’ve heard so far.

It’s a very easy guitar to play, too. We’ve often waxed lyrical about how Taylor’s neck profiles make a player – who is perhaps more used to playing electric guitar then they are acoustic – feel immediately at home and such is the case here. Good looks, good sounds and an easy ride. We really couldn’t ask for much more.

So let’s see what’s cooking with the Builder’s Edition. Obviously, the actual Grand Auditorium body profile is consistent between the two models, but otherwise the changes come thick and fast.

For starters, there’s the warm look to the Tobacco Kona Sunburst, which gives the guitar a sort of Gibson J-45 kerb appeal, although the sunburst here is perhaps a little more reddish-brown than on a J-45. It’s a good look, but if a sunburst finish is a total dealbreaker for you, then there is a natural finish Builder’s Edition on offer, too.

The top is, as with its sibling, Sitka spruce, but the spec we have available doesn’t disclose if it has been subjected to the torrification process – and it’s darned hard to tell from just the appearance of the wood itself. For the back and sides, Taylor has gone for Shamel ash, another urban timber from trees that are needing removal owing to age or safety concerns.

This particular timber is sourced from West Coast Arborists, a company that specialises in tree maintenance in cities across California, Arizona, Nevada and Texas. Taylor tells us that Shamel ash “produces midrange power and balance comparable to Honduran mahogany”, a bold claim, seeing that Honduran mahogany is hailed as a prince among tonewoods.

If it can live up to the claim, this is timber recycling at its finest hour. Under close inspection, the timber has a lively grain pattern similar to that of figured maple, but it’s all but hidden by the dark finish, which, to be honest, is really a bit of a shame.

The Builder’s Edition appointments are more pronounced at the guitar’s body end with chamfered edges, plus mahogany forearm and cutaway bevels, and so playing comfort has been optimised.

The mahogany neck and West African Crelicam ebony fingerboard and bridge are common to this model and its 514ce sidekick, but tuners here have been upscaled to Gotoh 510 Antique Chrome, which offers a little vintage chic to the overall picture.

Onstage duties are managed by Taylor’s proven Expression System 2, but first things first: it’s time to listen to what the upgraded 514ce has to offer acoustically.

Specs

• Price: $3,499/£4,019 (inc case)
• Origin: USA
• Type: Grand Auditorium
• Top: Sitka spruce
• Back/Sides: Shamel ash
• Max Rim Depth: 112mm
• Max Body Width: 402mm
• Neck: Tropical mahogany
• Scale Length: 648mm (25.5”)
• Tuners: Gotoh 510 Antique Chrome with antique chrome buttons
• Nut/Width: Graph Tech Tusq/
  44mm
• Fingerboard: West African Crelicam ebony
• Frets: 20, medium
• Bridge/Spacing: Ebony/56mm
• Electrics: Expression System 2
• Weight (kg/lb): 2.13/4.7 
• Options: Builder’s Edition 514ce in Natural costs £3,899
• Range Options: The Legacy 514ce (£3,899) combines Western red cedar with neo-tropical mahogany, X-bracing and LR Baggs Element VTC electronics
• Left-Handers: No
• Finish: Tobacco Kona Burst gloss 
• Contact: Taylor Guitars

Playability and sounds

Once again, Taylor’s super-friendly neck profile offers us a warm welcome on freeing the guitar from its case, the matt finish to the back of the neck aiding smooth sailing up and down the fretboard.

Initial strums reveal a surprise in that Shamel ash does indeed seem to inhabit the same sonic space as a good mahogany; there’s that distinctive dry, woody flavour to open chords.

There’s plenty of midrange punch, too, with volume to spare. Everything from gentle fingerpicking to abandoned chordal strumming is ably catered for, with a bass response that sits in between a dreadnought’s bloom and an OM’s slightly more compressed output.

Generally speaking, the Builder’s Edition is extremely well balanced with no evident peaks or troughs detected during our play test.

The Expression System 2 proves its worth once again when we plugged the guitar into our trusty AER Compact 60 acoustic guitar amp. Despite what might appear to be only scant control over the sound with volume, treble and bass rotaries, everything we needed was there.

With only a very slight amount of tweaking, we were able to conjure up everything from good ol’ rock ’n’ roll to sensitive fingerstyle with no trouble at all.

Verdict

Verdict: ★★★★½

Okay, so at a price tag that clocks in at just over £4k, this isn’t a purchase that you’d enter into without giving it a lot of thought and a long audition beforehand.

But real quality of this nature rarely comes cheap, and when you consider that you’re getting something that runs the gamut of acoustic styles as well as a strum ’n’ go no-fuss pickup system, it’s definitely worth some serious thought.

Guitar World verdict: The red ironbark variation is still out there for as long as stock lasts, and if the frills like a bevelled armrest and chamfered edges don’t bother you, there are probably bargains to be had. It might be a slightly different hue, sonically speaking, but the build and sound quality is all there.

Hands-on videos

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• Best high-end acoustic guitars 2025: 10 of the most lust-worthy instruments for guitarists
• This article first appeared in Guitarist. Subscribe and save.

Each model in the sextet has been closely developed at Gibson’s Custom Acoustic facility in Bozeman, Montana, and comes complete with ‘open book’ headstocks, rosewood fingerboards, and vintage gloss finishes.

The Inspired by Gibson Custom range is essentially a more premium line of guitars that stay within Epiphone's price range, but add a little more panache than some of their other accessibly priced guitars. The new additions include the 1942 Banner J-45, 1957 SJ-200, 1960 Hummingbird, 1963 Dove, Hummingbird Deluxe EC, and the Pre-War SJ-200 Rosewood.

The 1942 Banner J-45 Reissue ($1,299) draws lovingly from Gibson’s iconic workhorse acoustic. It features a thermally aged solid spruce top and scalloped X-bracing, and mahogany has been employed for its back and sides. Vintage chic comes from a teardrop pickguard and open-back tuners, and the playability is aided by a V-shaped mahogany neck.

However, it’s not all about nostalgia, as an onboard L.R. Baggs Element Bronze VTC pickup system offers contemporary amplification – a feature seen across the board here.

The 1957 SJ-200 Reissue ($1,499), meanwhile, takes its cues from what Gibson calls the “King of the Flat-Tops.” The SJ-200 was first built in 1937 and has been used by the likes of Brian May and Jimmy Page as it found itself in the hands of rock royalty.

More thermal aging, this time for its Sitka spruce top with scalloped X-bracing, is on display here, with figured maple chosen for its back and sides. Its neck is flame maple, it has a walnut stringer, and its bound Indian rosewood fingerboard gets mother-of-pearl graduated Crown inlays. The instrument's look is complete with a Moustache bridge, and the crown inlay also features on the headstock.

Moving on, the 1960 Hummingbird ($1,299), favoured by Keith Richards and Thom Yorke, gets a thermally aged solid spruce top with scalloped X-bracing, solid mahogany back and sides, and a one-piece mahogany neck with a rounded profile.

The 1963 Dove ($1,399), meanwhile, is built similarly, though the square-shoulder acoustic gets figured maple back and sides instead. They both feature mother-of-pearl split parallelogram inlays and rosewood bridges, and engraved pickguards.

The Hummingbird and SJ-200 also come in deluxe formats. The Hummingbird Deluxe EC ($1,299) nods to the Gibson Custom cutaway version of the acoustic, with a thermally aged solid spruce top and solid rosewood back and sides on hand for “enhanced resonance, deeper bass, and sparkling highs”.

The acoustic’s one-piece mahogany neck has a C-profile, and it's joined by gold Grover Rotomatic tuners, a reverse belly ebony bridge, and a gold-etched Hummingbird pickguard.

As for the Epiphone Pre-War SJ-200 Rosewood ($1,499), the recreation of a rare, 1930s build, the same body woods combine, though it offers a two-piece maple neck with a D-profile. Old time looks see a Moustache bridge and ornate SJ-200 pickguard get in on the act.

“In close collaboration with the Gibson Custom team, we’ve reissued a new wave of era-accurate acoustics,” says Lewis McKinney, Brand Manager at Epiphone. “Rebuilt from the ground up with precision and care, these guitars embody our ongoing commitment to quality, accessibility, and innovation. This launch marks a fresh chapter for Epiphone acoustics, and we can’t wait for players to experience them.”

Head to Epiphone for more.

For that, they’re going to need guitars, and lots of them. Bob Dylan biopic A Complete Unknown might have made all the early running in the bid to be the most guitar-heavy film of 2025, but for all of Timothée Chalamet and Gibson’s efforts, Spinal Tap II: The End Continues is going to be 1hr 23 minutes of NAMM on psilocybin.

“A lot has happened since the last time I saw you,” says onscreen director Marty Bergman, after a series of flashbacks to the original movie (we won’t retread old gear ground here). Ain’t that the truth. There’s Tufnel selling cheese.

In an interview with Empire, the real director, Rob Reiner, revealed some of the career changes that had been going on with the band. Tufnel did say he wanted to move into retail, and he did.

“Nigel has been running a cheese and guitar shop in Berwick-upon-Tweed,” said Reiner. “He’s also been performing with a local folk band in the village that play penny whistle and mandolin, and he plays electric guitar with them. We show a little clip of that.”

St. Hubbins, meanwhile, kept his hand in. He makes music, albeit for a true crime podcast – which sounds close enough to realizing his life’s dream of a scoring a light musical based on the life of Jack the Ripper. We also see him in a Mariachi band playing an old Dean nylon-string guitar (is that a Dean España?).

“David St. Hubbins has been living in Morro Bay in California, and he’s been writing music for podcasts, particularly this one true-crime podcast called The Trouble With Murder,” explained Reiner. “He also writes the music that you hear when you’re on hold on the phone.”

Smalls? He moved into glue.

“Derek is living in London and is now the curator of the New Museum of Glue,” continued Reiner. “He’s curated glue from every country in the world – the whole history of glue – and he shows me around.”

Onto the guitars that will feature in Spinal Tap II. As Reiner mentions, Tufnel is on the pub gig circuit. We’d like to think he is playing Slipknot covers but this is very much more of a shirts off for Roy Harper deal.

We see him playing a Butterscotch Blonde Tele with a P-90 pickup at the neck. We’d love to see if he has embraced amp modelers, a big old Helix on the floor, but maybe you’ll have to wait for the Blu-ray extras for that.

This Tele is very Julian Lage. This is probably the only time you will read Julian Lage and Nigel Tufnel's names in the same sentence.

Present-day Tap is a band transformed. Hubbins is playing an Ibanez JS-3 Joe Satriani signature guitar. Smalls has a Lakland Skyline bass. Somebody somewhere has probably got a Tonex One in the pocket.

Cut to the studio and it is clear the bottom has fallen out of the glue market; Smalls is playing a Schecter C-5 in Satin Metallic Light Blue.

His bandmates have more upscale choices. Hubbins has a PRS McCarty 594 Singlecut, and Tufnel has a… Wait! A Collings 470 JL Julian Lage signature model in Antiqued Sunburst! Maybe that T-style was a Nachocaster. Maybe Tufnel and Lage are kindred spirits after all.

Lick My Love Pump coming to a Blue Note recording sometime soon? Nothing would surprise us. We are in the craziest of timelines. Note also: there are some Jazzmasters hanging on the wall. Is an indie/alt-rock change of direction written in the stars?

Who knows what narrative threads Rob Reiner will pull upon for this sequel, but we can be sure that Paul McCartney and Elton John will be making sizeable cameos.

As Guitar World reported, Tufnel is playing St Vincent’s signature Ernie Ball Music Man Goldie in a custom Union Jack finish. St. Hubbins is playing an EBMM signature model in Union Jack finish, too, but this is a James Valentine HH model with custom block inlays, because why not?

He’s the frontman of Spinal Tap. And he’s gonna do a number called Stonehenge...

Spinal Tap II: The End Continues is out September 12 through Sony Pictures.

Faced with the neckwear, soundhole scuffs and belt-buckle scratches of this five-strong historic line-up, the abiding impression is of inspecting the personal effects of some bygone billionaire collector in the moments before they are swaddled in bubblewrap and shipped to the auction house or family vault.

To lift such an instrument from its stand, to run your fingers over its blemished fretboard, to hear its ancient voice sing of centuries past is a heart-in-mouth moment, loaded with both joy and a faint dread that a curator is about to burst in and admonish you for handling it without white cotton gloves.

The twist, of course, is that these guitars are in fact younger than yesterday, representing the latest cache of releases from Gibson’s Murphy Lab.

The life’s work of Tom Murphy surely needs no introduction. Now in his mid‑’70s, the undisputed godfather of guitar relicing has elevated the practice to a branch of science (and changed the perception of pre-worn instruments from gimmick to art form).

Since the luthier returned to Gibson at the turn of the decade to establish the Murphy Lab, we’ve seen some of his most mouthwatering treatments applied to a wishlist of electric instruments. But as senior product development manager, Robi Johns, tells us, Murphy’s unprecedented swerve into aged acoustic guitars since 2023 has added a whole new string to his bow.

The Murphy Lab has been creating stunning aged electrics for a few years, but now the acoustic side of the operation is in full swing. Are you pleased with the output so far?

“More than pleased; I’m in awe. Because this has been an evolution. Tom Murphy created his finishes to make the electrics feel and look like road-worn instruments. Then Gibson said, ‘Hey, let’s do some acoustics this way, too.’ That was about four years ago. My initial thought was, ‘I don’t know if people are looking for beat-up acoustics.’

“But we released five models with light ageing in 2023. Now, I hear from the connoisseur artists: ‘I was down in Nashville and I ran into this Murphy Lab Light Aged Jumbo, and I can’t sleep any more because I just gotta have it. But they said they couldn’t sell it because it’s a display model. Please can you pull some strings so I can buy it?’

“Last year, we announced the Murphy Lab Heavy Aged Acoustic Collection and they’re just starting to hit the market. I actually said to Tom, ‘Thank you, you’ve created a time machine for us.’”

How were the five models that feature in the new Heavy Aged Collection selected?

“Well, the 1942 Banner J-45, that was the year of release and it became our bestseller, the bread and butter Gibson dreadnought – even though it was round-shouldered. Then there’s the 1936 Advanced Jumbo, which was like the J-45 before the J-45 existed.

“And the reason we chose that for the Heavy Aged series was because it’s definitely the most powerful. It’s a long-scale instead of a short-scale and that makes it more projecting. And it has a wider X-brace.

“In the 1940s, we went to a more condensed bracing pattern, which growls and distorts a little more when you hit it. But when you play the Advanced Jumbo from the 1930s, with that wide X, it barks at you. You hit it harder and it definitely sounds gritty.”

“Then, of course, there’s the 1939 SJ-100. The SJ-200 was released in 1938, and then we released the SJ-100, probably because it was the end of an era of economic instability in America and we wanted to get the prices down. So that model was $100 in 1939, I believe, while the SJ-200 was $200. The 1960 Hummingbird: that’s the quintessential year of its release.

“When the 1963 Country Western was released, people wanted a natural-looking dreadnought, and we included it in the Heavy Aged Collection because people would not let us alone! It just kept coming back up. So it’s society that has led us to these models because society responded to them.”

What would you say are the key elements that go into Gibson’s aged acoustics?

“They’re not necessarily built differently. Every guitar has the old dovetail neck-to-body joint – we were already doing that from 1989 onward, when we started this craftory. The luthiers at that time said, ‘We gotta compete with the old guitars that are already out there since 1926.’ We had a bar that was so high.

“Another of the key things – which a lot of people don’t know – is that we dome the tops, even on a flat-top. That gives us that really nice midrange, makes them sound really old. We use thermally aged tops to accelerate what happens to a piece of wood when it sits in a shop for 80 years. And we use hide glue on the braces of these guitars, both the Murphy Lab and Custom Historic models.”

“So we were already doing a lot of this stuff to make our acoustics sound as vibrant as possible, and they already sounded pretty damn old. But the real magic of this collection is that up to this period of time we were using nitro lacquer, maybe 12 to 14 coats, with some sanding in between. But then we created a thinner version that was half as many coats.

“It wasn’t as smooth-looking, but it allowed the guitar to vibrate even more because it was thinner. When Tom created his new formula, he took out all the plasticisers and other solvents. All we have left is the cellulose. We put it on there and we’re listening to these guitars and it’s just unbelievable.”

“Even as a new guitar, it sounds 100 years old. So by the turn of the millennium, we were already saying, ‘We’re getting closer and closer to a 100-year-old tone.’ But then, when Tom developed this finish we put on [the new collection], that was the last cherry on top.

“You know, a UV cure is a beautiful hard finish and I’m not gonna say it’s ‘bad’, it’ll just never change. That’s good for some people. But with the Murphy Lab acoustics, I say to people: ‘I’m sorry to tell you, but in about 20 years, your finish will probably crack because it’s gonna get thinner and thinner. But when it gets thinner and it cracks, it’ll sound better – so look forward to it!’ I can’t even imagine what these guitars will sound like in 50 years’ time.”

What are the processes by which you create the imperfections on these acoustics?

“It’s very human. We cool the instruments in a refrigerator to create this beautiful hairline cracking. We know what temperature, how long to do it, for which model. And then, it’s human beings who are wearing off the belt spot in the back or scraping off the finish, rubbing it with different tools, to create the look and touch of where it would have worn off.

“The finish is very brittle once it’s pulled out of the cooling chamber and we can crack it and peel parts of it off – or scratch it as if a pick was scratching against it for 40 years. Our technicians will use sandpaper, of course.

“But they’ll also invent different ways to create those marks, like the pick scratching. They might even say: ‘You know, when I use the end of my calliper, it looks good.’ They’ll use anything to make it work. And that gives it the character.”

“Now, that’s less about sound and more about the vibe and character of the guitar, which actually is psychoacoustic. The definition of that word is that you hear something based on the feel and the experience. It’s like if you ride a Harley-Davidson motorcycle, it’s noisy and it’s loud, and it’s not the most efficient motorcycle in the world, but it’s the experience of sitting on that giant monster. But [ultimately] we design guitars for sound.

“We pull from our history for the sound and feel of each instrument. Not just the fancy features. One of the things we profess is that when Orville Gibson made his first instrument, that we know of, in the late-1800s, he did it with one philosophy in mind: that when you build an instrument, the methodology of how you assemble it should enhance the performance. And we live up to that.”

What obstacles did the team encounter when creating the Murphy Lab acoustics?

“Well, we didn’t have a lacquer booth. We had to create a whole new laboratory here in Bozeman, Montana, which wasn’t too much of an obstacle because all we had to do was replicate what was already successful in Nashville. It’s a team of four, run by one of our best young builders called Madison Swords.

“We’re still a small company here building acoustics. But I will say that the Custom Historic and Murphy Lab stuff has become quite a large portion of our market demand and success in the last four or five years.

“Next, we had to discover what worked and what doesn’t work. We had to work with the temperature. The original tests were done by Tom Murphy himself. We couldn’t go as far with the ageing as with the electrics; we had to pull back with the acoustics because they’re thinner and more delicate.”

How do you see the Murphy Lab acoustics rolling out from here?

“Well, what’s beautiful about this project is that it gives us a channel to release models that are not always released, to touch all these new places in our history. And I can advertise, slightly, that we are working on five other models for release in September that will be Light Aged. In that batch, we said, ‘Hey, there’s a really cool SJ-200 with maple that everyone loves from around ’57, with a stinger on the back of the headstock.’

“We’re going to do a ’63 Dove. We’re also going to do one of the very first flat-tops in our history, the small-body Nick Lucas model, which goes back to the 1920s. We’re gonna re-release the J-160E. We’ll have 15 Light and Heavy Aged models by the end of this calendar year. Where do you start and end with this? I can open a Gibson reference book and go, ‘Oh, remember that?’ There’s just so much fun stuff.”

Do you find that different markets have different attitudes towards aged guitars?

“The Japanese like newer stuff. They want the [vintage] sound, but they want it to look new. So they want the Ultra Light Murphy Lab stuff. We don’t mess with ageing that too much, if at all, but it has the magic aged finish, which is basically cellulose.”

Do you think the Murphy Lab acoustics could fool a seasoned guitar connoisseur?

“Absolutely. And not only fool them. I just guided the building of a guitar for our friend Peter Frampton. He has a 1939 L-00. He wanted an L-00 from the Murphy Lab because he’s heard these things are magic. So I put together the design for him.

“We used a Light Aged finish. And I have his message on my phone: ‘Robi, I don’t understand, this sounds better than my ’39.’ I knew that he was right. With all of the elements that we’re doing today, we’re finding out that the overall effect is that they might sound even better than the ones from that era.”

Do you think there’s an end point to the guitar ageing process?

“When I’m looking at what we just did, I don’t know how much further we can go to get more magic out of these things. But I shouldn’t say that because I know there’s always more…”

• Gibson’s Murphy Lab Heavy Aged & Light Aged Acoustic Collections are available now from Gibson.
• This article first appeared in Guitarist. Subscribe and save.

As such, there is a temptation – wherever acoustic guitarists gather – to philosophise passionately about every part of the instrument. This is useful.

As something of a pontificator myself, it is comforting to know that there are places we can go. This column being one of them. That said, before addressing one of the most hotly debated and subjective topics in the acoustic guitar world, let’s start with three objective truths.

These will give us something to cling onto as we go: one, wood of any species is nothing more than a source of potential; two, the acoustic properties of individual pieces of wood can differ wildly within the same species and genus of tree; and three, as every guitar is different so, too, is every player.

Bearing these three precepts in mind – and assuming that all hypothetical guitars I mention have soundboards voiced to bring out the best of each instrument – let’s take a look at the differences that the choice of rosewood or mahogany back and sides will have on your experience as a tone-generating 21st century organism.

Fundamental Or Complex

The finest mahogany guitars that I have encountered have had several characteristics in common. The most immediate of these is the ‘fundamental’ character of the sound.

You get the note itself and maybe a touch of sympathetic resonance from open strings – especially in tunings like DADGAD – but on the whole the voice is pure and unadorned. It is a sound we could describe as ‘dry’ or ‘woody’ without fear of contradiction.

I have found mahogany guitars to be friendly things, warm and immediate to the touch. They can be powerful, breathy, forgiving when it comes to finger noise and string squeak. They can also soften the attack of a hard pick, making for a more intimate sound. It’s a gentle conversation between friends, rather than a job interview.

By contrast, the best rosewood guitars I have played lean into the reflective properties of this harder, vitreous wood for a sound that is heavy in upper partial harmonics and internal reverb.

At its best, this can be a life-changing experience, the guitar rising up to meet the initial attack with a similar effect as good amp reverb – bold, lush and glorious.

This spectacular ‘choirs of angels’ timbre can come with drawbacks. In some guitars the voice can be lost in indistinct white noise as everything is amplified to the same degree. If you are having a good day and playing with your usual effortless, fluid mastery then a fine rosewood guitar can gild your playing with new and beautiful textures, rather like singing in a cathedral.

If you’re out of practice, trying to master a new piece or distracted, then a rosewood guitar can be guaranteed to throw every imperfection in your sound into sharp relief. Sloppy fingering, inaccurate bends and string squeaks – we’re still in a cathedral, but that’s not singing.

History In The Making

The chances are that your first experience with a serious acoustic guitar was an instrument that originated in either the Martin or Gibson factories. Martin has made the majority of its guitars from either rosewood or mahogany.

This has allowed players around the world to express a preference – 18 or 28 – and it can become a part of our identity. While there are many lovers of mahogany Martin guitars, the fact that only the rosewood instruments got the premium 42/45 style package speaks volumes about perceptions of both woods among players.

Gibson found that its sound depends more on the winning combination of a shorter scale length and dryer back and side woods. There is a reason why the J-45 is revered among singer-songwriters. Rosewood Gibson acoustics are relatively rare, but they are sought after and tend to command a premium.

Vintage instruments with decades of ageing and playing in them are often extremely desirable. There’s something about the patina of an old finish, the repairs, the subtle indications of a life spent making music. But what are the implications of ageing in a guitar of each wood?

There are those who believe (Michael Millard of Froggy Bottom Guitars being a vocal advocate) that as instruments age they move in the opposite direction – rosewood guitars calming down and getting more focused on the fundamentals, while mahogany instruments gain a richer harmonic voice as they open up. This doesn’t help.

In the past five decades the acoustic guitar has experienced an evolutionary spike due to the burgeoning popularity of luthier-made instruments for an individual player.

These unique creations can often feature rare and exotic woods. Some such as quilted mahogany from The Tree and Shipwreck Brazilian rosewood command eye-watering prices and elevate the instrument into the realms of bespoke luxury.

Others such as sapele and Indian rosewood are offered as more accessible alternatives. Either way – financial considerations aside – your choice is still primarily between a fundamental sound or one that adds colour to the principal frequencies.

It’s Not Me, It’s You

Every player is different. The way that a guitar responds depends as much on us as the instrument itself, and the best thing we can do is listen objectively and critically as we play.

Hand position, use of dynamics and phrasing, our own individual sense of taste and the way that we perceive sound all have a role to play in this choice and what instrument best suits us.

To be aware of our own touch and how it works within the context of different instruments is a vital skill that comes with time and experience. Learn what you love.

• This article first appeared in Guitarist. Subscribe and save.

If you know your Martin guitar models, you might initially say, “Oh, it’s a D-18 but with an unusually grained fingerboard and bridge.” Well, no, it’s not a D-18, but it’s certainly a dreadnought and follows that legendary model’s features pretty closely.

As for the fingerboard and bridge, like the D-18 they’re ebony, although here it’s ‘striped’. Striped ebony is just as hard and just as toneful as the pitch-black variety, and those markings are merely due to the fact that Martin is happy to use different cuts of timber from the same Gabon ebony tree.

Company chairman, Chris Martin, elaborates: “Striped ebony is a sustainable option because harvesting it involves the utilisation of all parts of the tree. The streaks appear due to the species’ light-coloured heartwood; by using the lighter colour, we can employ more of the harvested wood.

Using all colour variations allows for more lumber from the tree to be transformed into guitar parts, keeping the harvesters and mills from scrapping more material and putting more money into their supply chain. Less wood scrapped means fewer trees are cut down.”

There’s really nothing not to like about that, is there? We will mention, though, that not all Retro Plus guitars’ ’boards and bridges have as much going on as this one, so if the multi-coloured look is not your thing, just shop around until you find one that’s more to your liking.

Another important fact about Road Series models is that they’re made in Martin’s factory in Sonora, Mexico, where the company has had an operation since 1989. The use of this Mexican production base reduces the price of these guitars massively, from around $2,899/£3,000 for a Nazareth-built D-18 Standard (with no pickup), to $/£1,899 for a stage-ready Retro Plus (that you shouldn’t be scared to take out on the road).

With back and sides of solid mahogany, a tinted and torrefied spruce top with scalloped bracing, and what Martin describes as ‘select hardwood’ for the neck, it’s a recipe that has generated fine acoustic guitar tones since Martin first combined the ingredients in dreadnought guise back in 1931.

By the way, the neck’s ‘select hardwood’ reference means it could be genuine mahogany, Spanish cedar, nato or any similar available timber that Martin has in its current stockpile. It’s attached to the body with a traditional mortise and tenon joint, and satin finished in dark mahogany stain.

The body is natural gloss save for the top’s tinted toner; it’s most likely urethane, but it appears pretty thin-skinned and not at all shiny or plastic looking. It’s great, too, to see the use of quality Grover open-geared tuners, which add to the guitar’s understated but classy vintage vibe.

Other details include white Corian nut and Tusq saddle, rosewood headstock facing with water-transfer Martin logo in old-style script, faux-tortoiseshell pickguard, and subtle binding and soundhole rosette.

What’s not at all vintage is the onboard E1 pickup and preamp with built-in chromatic tuner. A useful feature is that, when plugged in, the tuner shuts off the output for silent operation on stage (although the guitar doesn’t need a jack plug inserted to activate it).

A clear digital read-out faces the player from the far side of the soundhole, while on the upper edge we find volume and tone rotaries, plus a phase reversal switch for feedback suppression and a bit of bass boost. There’s a separate input socket on a plastic escutcheon housing the end-pin and a flip-up battery compartment, plus you’ll find a second strap button on the heel’s underside so your Retro Plus is ready to go.

Specs

• PRICE: $1,899/£1,899 (with padded gig-bag)
• ORIGIN: Mexico
• TYPE: Non-cutaway acoustic-electric
• TOP: Torrefied spruce
• BACK/SIDES: Solid mahogany
• MAX RIM DEPTH: 107mm
• MAX BODY WIDTH: 406mm
• NECK: Select hardwood, Performing Artist profile w/ High Performance taper
• SCALE LENGTH: 645.2mm (25.4”)
• TUNERS: Grover butterbean ‘Waverley’ open-back style
• NUT/WIDTH: White Corian/44.45mm
• FINGERBOARD: Unbound ebony (light toned w/ dark streaks), with faux abalone dot inlays
• FRETS: 20, fine gauge
• BRIDGE/SPACING: Modern belly style in streaky ebony w/ white Tusq/54.8mm
• ELECTRICS: Martin E1 pickup/preamp w/ volume and tone controls, phase switch and electronic tuner
• WEIGHT (kg/lb): 2.086/4.6
• OPTIONS: None
• RANGE OPTIONS: Martin 000E Retro Plus ($/£1,899) – all specs as DE other than smaller 000 body and shorter 632.6mm (24.9”) scale length
• LEFT-HANDERS: Yes
• FINISH: Gloss top (with ageing toner) back and sides; satin finish to neck
• CONTACT: Martin Guitar

Playability and sounds

From inception, the Retro Plus was designed for super-comfortable and super-efficient playing. We’ve long been fans of the Performing Artist neck profile with High Performance taper. It’s a comfy medium-to-shallow C shape, around 21mm (1st fret) and 23mm (10th), whose width narrows from just under 54mm at the 12th fret down to 44.45mm at the nut.

Designed for effortless playability in almost any style, the guitar’s 645.2mm (25.4-inch) scale length also provides a fast and snappy tone that the mahogany body, with its thermally aged spruce top, projects warmly on to your audience.

There’s definitely something to be said for our guitar’s torrefied top and scalloped X-bracing. Right out of its dark-grey Martin padded bag it sounds completely played in, with not a hint of sharpness or ‘budget guitar’ brashness (not that this is exactly a budget guitar). And whether picked or strummed, the Retro Plus kicks out a rich and wholly satisfying tone that punches well above its pay grade.

As for the E1 pickup/preamp, while no LR Baggs HiFi Duet, it’s an all-encompassing system that does a fine job of amplifying the Retro’s natural acoustic tone. Your front-of-house engineer or that open-mic audience are unlikely to complain.

The instrument is beautifully set up, too, and that wide nut is perfect for dextrous folk forays or fingerpicked instrumental passages in open tunings. But as a big, bold strummer the dreadnought is pretty much peerless, and the Retro Plus matches almost anything we’ve played in quite a while. It’s a most impressive beast and an extremely likeable guitar.

Verdict

Verdict: ★★★★½

While $/£100 or so below two grand is hardly cheap, in Martin terms it represents serious value for money.

Chris Martin saw many of his competitors making guitars based on his company’s own original designs but undercutting these premium instruments by handsome margins. He decided to do something about it and so the Retro Plus was born.

The use of quality timbers, including that torrefied spruce top, plus fantastically playable necks and a simple but solid pickup system work hand in hand to create an instrument that we just couldn’t put down.

Guitar World verdict: Nothing about it says ‘budget’. Instead, you simply feel proud to hold it in your hands – a real Martin and one based on one of the most successful acoustic guitar designs in history. And to answer that question you haven’t even asked us: yes, almost two centuries of guitar building knowhow really does show!

Hands-on videos

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• Best high-end acoustic guitars 2025: 10 of the most lust-worthy instruments for guitarists
• This article first appeared in Guitarist. Subscribe and save.

We joined him earlier this year to hear how slide legend Ry Cooder inspired him to get the whole thing started – and learn why his new AEG-1 guitar may be a game-changer.

LR Baggs is one of the biggest names in acoustic pickups – but how did you originally get started on that quest?

“Well, I started making acoustic guitars back in around 1975, and I had some great clients. I made guitars for Janis Ian, Ry Cooder, Jackson Browne, Graham Nash… a whole bunch of the LA guys. Ry was one of the pioneers of amplified acoustic and he was always experimenting with stuff.

“He would come by a lot to my studio, and we would put the pickup system du jour in the guitar, and he had this rack full of equipment about the size of a little refrigerator that he had to tour with to make it kind of work.

“One of the early influences in what we do [today] was observing him swearing at the rack, right? I’d be over at his place and he’d be swearing at this thing – it was like he needed it, but he hated it.”

“And so that experience of watching the pain that he went through in the early days, trying to amplify his instrument, really became our tent post. It was like, ‘Okay, we’re gonna make it simple and we’re gonna make it painless and we’re gonna make it work.’”

Despite your success in making acoustic pickup systems, we don’t envy you the job – getting a really good amplified acoustic sound seems such an elusive thing. Do you feel it’s a bit of a black art, or at the very least an especially challenging task?

“Well, I think it’s oxymoronic. The guitar is a speaker, so you’re putting a pickup on a speaker and you’re amplifying a speaker – but the ‘speaker’ amplifies [itself] anyway, so you’re amplifying an amplifier. It’s just really weird!”

An overlooked aspect of acoustic pickup design is how they can leave you feeling oddly disconnected from the guitar because the experience of playing an amplified acoustic is so very different from that of playing it at home, unplugged. How do you make that feedback loop between mind, fingers, guitar and amplifier feel more natural?

“That’s the key question, I think, besides the sound. In fact, I would say we prioritise feel over the sound because if it doesn’t feel right, you’re gonna get tired of it. It’s gonna wear you out. You’re not gonna enjoy yourself. You’re not gonna play your best.

“So that’s been a big part of what we’ve been working on: narrowing that divide. It started out as the Grand Canyon, but I think we’re getting closer to having something that feels and sounds organic and right.”

LR Baggs has really led the way in offering pro-grade alternatives to the ubiquitous under-saddle piezo pickup, such as the excellent HiFi system and now the HiFi Duet pickup – which adds a ‘Silo’ microphone to the equation – that’s been used so successfully on your new AEG-1 guitar. Tell us about the inception of that ‘piezo beating’ pickup.

“Thank you. Well, it started out with our HiFi pickups – and those are bridge-plate transducers. The under-saddle [piezo] pickup has [by contrast] become a useful necessity, but it’s not exactly a beloved thing, and installing it is always difficult.

“So we’ve been trying to make a bridge-plate pickup that worked [as an alternative to under-saddle piezo units]. Our first one was the iBeam, about 15, 20 years ago, and that sounded really good, but it wasn’t very stable. Play a coffee shop and you’re good. Record with it, you’re good. Put it on a big stage? Nah.”

“So we just continued to work on it. I had something close to it about five years ago, and then I took it to Nashville to beta-test it, and it was kind of a failure. So I gave up on it at the time and our general manager, Bo [Radis], said, ‘Hey, mind if I work on it?’ And he figured it out.

“The thing that makes it different is that there’s a bunch of bridge-plate pickups, the acoustic Feather, K&K… but the typical bridge-plate pickup isn’t very dynamic and it feeds back early. So that was the goal.

“The big news about the HiFi is that it’s a bridge-plate transducer that is dynamic: we tested it against the Element under-saddle in 20-odd guitars and in every single guitar but one, it was 1dB or 2dB better [at resisting] feedback than the Element.

“So it’s not an under-saddle pickup. It’s got the advantages of an under‑saddle pickup in terms of resistance to feedback and stability, presence and dynamics. But it’s non-invasive. You just stick it on underneath your saddle and drive it away.

Tell us how the excellent new AEG-1 guitar design came about. It really does move the game forward for thinline acoustic-voiced guitars.

“So do you remember the Godin Acousticaster? That was my first acoustic electric – I built that guitar and licensed it to Godin. I was trying to make a good-sounding acoustic electric and it was an advancement.

“But from an acoustic standpoint, it still had that kind of midrange acoustic-electric, banjo twang. So about every couple of years, I would take a couple of days to a week and try to figure out how to make a really good-sounding acoustic electric.

“During Covid we were all working remotely and the guys from the workshop persuaded me to [have another go at the idea]. So I did the standard thing – I hollowed out a solidbody guitar and put a really good acoustic top on it and I thought, ‘This is gonna be really good.’ But when I tried it, it didn’t really sound good – it wasn’t thrilling. It still had that [banjo-like] midrange.”

“Then I cut down a cheap 000-size Chinese guitar to the thickness of an acoustic-electric, and I put a bunch of heavy wood around the inside lining. And then I stuck the back on again. That sounded really good.

“Yeah, it didn’t sound quite as good as it did before I cut it down, but I thought, ‘That’s the ticket – it needs a free-floating back.’ I did all kinds of stuff like putting weights on the back, and when I got the back frequency below the frequency of the top, I started to get this really nice bass from it.

“I thought, ‘Okay, it’s got to have a vibrating back.’ Then the question was: ‘Well, if I put a vibrating back on the thing, the neck is going to be like a noodle because the neck attachment point is really important.’ So I wanted a bolt-on neck, but how the heck am I going to do that? And that’s where this thing [holds up the plywood body-frame of the AEG-1] came into existence.

“We’ve applied for a patent on this – this makes the neck super-stable and drives more energy into the top. On a regular guitar, the [glued-on] top and the back are what’s holding the neck in place. So if you take the back off of the guitar, it caves in.

“But with the AEG-1, you can take the back of this guitar off and the thing stays in tune as well as if it had the back on. So that allowed us to voice the top independent of being a structural member. And with the back, we also have total freedom to voice it however we want.”

• “The most convincing acoustic tone from an acoustic electric that we’ve yet heard”: LR Baggs AEG-1 review
• This article first appeared in Guitarist. Subscribe and save.

Since 1981, Furch has produced some of the world’s finest acoustic guitars from its headquarters in the Czech Republic. The luthier’s core values of craftsmanship and innovation are evident in groundbreaking features spanning from its resonance-enhancing finishes to proprietary individual soundboard voicings. But the newly designed CNR System® Active neck joint is perhaps Furch’s boldest concept yet and a true industry milestone.

“The beauty of the CNR System® Active lies in its ability to address two major challenges faced by acoustic guitar players,” explains CEO Petr Furch. “First, it allows players to set up their guitar in seconds, eliminating the need for costly, time-consuming and risky neck resets. Second, it automatically maintains your preferred setup condition, even in varying environments such as summer or winter indoor climates. With the CNR System® Active, your guitar will always feel and play exactly the way you want.”

Furch’s original CNR System® of 2016 already solved one major issue, mitigating the damaging string tension inherent in an acoustic guitar by reinforcing the neck with a two-way adjustable truss rod embedded in a carbon fibre casing, alongside an L-shaped alloy heel structure (the ‘L’ is now 60mm longer and 45 per cent stronger in the new CNR System® Active for enhanced neck stability and string tension transfer).

Over 68,000 guitars were produced using the first-generation design, and the updated version builds on this legacy, incorporating extensive data gathered from user feedback and long-term observation of the original system’s behaviour.

But the trump card of this new technology is its elimination of a second age-old problem. “With the CNR System® Active,” says Petr, “our team focused on addressing the other half of the equation, the top itself, which naturally expands and contracts due to humidity.”

Rather than employ excess soundboard bracing – and compromise the instrument’s resonance – the CNR System® Active takes an entirely fresh approach. The cross-section diagram above shows the solid wood expansion element in the neck heel joint. Uniquely, this expands and contracts in sync with the natural movement of the soundboard, reacting in real-time to the environment you’re performing in.

“The type of wood, its position, length, grain orientation, and the humidity level at the time of installation are all meticulously controlled to allow it to expand and contract in response to humidity changes, mirroring the natural expansion and contraction of the soundboard,” explains Petr. “This movement is then transferred to automatically adjust the neck angle, ensuring consistent string action. So players no longer need to worry about fluctuating playability due to weather changes.”

Meanwhile, Furch’s rigorous testing confirms sound quality is unaffected. “We naturally had concerns about how the system might impact the sound,” says Petr.

“Introducing an expansion gap behind the heel could theoretically affect resonance. However, the tension of the strings and the transfer of acoustic waves primarily occur in the upper part of the neck. We ensured that resonance is channelled effectively through this area, particularly beneath the fretboard.”

In day-to-day use, the CNR System® Active delivers optimised playability with no need for setup. But when you first take ownership of a new Furch acoustic, you’ll naturally want to personalise the instrument to your playing style.

Fortunately, with the luthier’s new technology shipping on all guitars with serial number 126,202 and above, the process has never been easier, with a string‑action adjustment screw letting players minutely tweak and tailor playability using a standard Allen key (no saddle sanding required).

“Customers can either adjust the action themselves to suit their preferences once the guitar arrives,” says Petr, “or specify their desired action to the retailer, who can set it up quickly and easily prior to shipping. This gives customers greater confidence in buying their first Furch guitar online.”

The concept is mindblowing – but does it work? The effusive reaction from the acoustic scene speaks volumes, while the real-world value of the CNR System® Active was neatly summed up by the events at NAMM 2025.

With a freak temperature drop to 16°C (60°F) and a plunge in humidity to just 18 per cent – for reference, acoustic guitars should be stored at between 45 per cent and 65 per cent humidity – neighbouring exhibitors saw their instruments warp and crack. Yet the Furch acoustic guitars featuring the new CNR System® Active held firm.

As Petr notes with satisfaction: “It’s one thing to design and test new technology in a controlled environment, but the real test comes when that technology is exposed to the unpredictable chaos of the real world…”

And among the tasty lineup – which includes a 1956 Gibson ES-350T, a 1957 Gibson Les Paul Standard Goldtop, a 1965 Gibson Everly Brothers J-180, a 1971 Gibson Flying V Medallion #145, and a 1972 Gibson ES-345TDSV – is a 1951 Gibson CF-100E in sunburst finish.

Introduced in 1950, the historic model was Gibson's first attempt at electrifying a flat-top acoustic guitar. It was the beginning of Gibson President Ted McCarty's golden era, during which virtually all of Gibson's classic electric designs emerged, bringing about great innovation in the guitar space.

Featuring a cutaway mahogany body, spruce top, a cutaway body and a P-90 pickup mounted directly to the top, it's safe to say it was well ahead of its time.

The Gibson CF-100E has since since found favor with the likes of Bob Dylan and Jackson Browne and, in more recent years, J Mascis of Dinosaur Jr.

“It’s the same neck as a Goldtop – that’s why I got into them,” Mascis told us in 2021. “When Gibson did their [Centennial Collection] anniversary series, they had a different acoustic every month for a year and I got a [1994 Gibson 1950 CF-100E]. That was the first one I got. Now I have five altogether.”

As such, they’ve become a bit of an unsung hero of the vintage market, but they remain rare.

This particular CF-100E is described as being in “great condition for its age, with playwear throughout and a ton of small-body charm.” The original “no line” tuners were swapped with a later set of vintage “double line” tuners, while the guitar itself was serviced by Glaser Instruments and comes fully equipped with a reglued bridge and braces, and a re-fretted fretboard.

Speaking about this prestigious selection, Gibson Certified Vintage Manager Mitch Conrad says, “This batch is a perfect reminder of why we love doing this.

“From a 1957 Goldtop that stops you in your tracks, to a 1972 ES-345TDSV that’s just a blast to play, every piece brings something special. The 1956 ES-350T feels like the quintessential vintage Gibson, and the 1965 Everly Brothers J-180 is as cool as flat-tops get. It’s a lineup that shows exactly why vintage Gibson guitars are so collectible, playable, and endlessly inspiring.”

Gibson's Certified Vintage program launched in 2023 and has since graced guitar collectors with rarities such as a ’59 Les Paul Standard, a 1961 Les Paul SG Standard, and a 1982 Moderne.

To find out more about the models, head to Gibson Certified Vintage.

We were introduced to Fenech’s guitars at this year’s NAMM Show in January, where they were added to our shopping list of instruments we’d like to take a closer look at. A few months later and here we are with two contrasting models from the Fenech range, and it’s been an interesting time getting to know them.

A quick tour of Fenech’s backstory – we take a deeper dive in the interview that follows this review – circles around Aaron Fenech, whose workshop is in Queensland, Australia. Aaron began with an apprenticeship in automotive engineering, moving on to carpentry.

After completing a BSc in environmental science, oceanography, material science and engineering, his passion for music soon led him to taking on instrument repairs, blossoming later into instrument building and the creation of Fenech Guitars in 2016.

In the years that have followed, the brand has become known for the use of lesser-known exotic timbers, a finite understanding of acoustic guitar building that embraces style and sophistication along with superior tone. Since opening the workshop doors, an assembled cast of players have taken to using guitars from the Fenech range, although the guitars themselves are not that well known this side of the globe.

Fenech has a custom shop, where all instruments are bench-made to customers’ requirements, but Aaron’s team of highly skilled luthiers also make a standard range of instruments that end up at retail outlets. Such is the case here, where our two review samples are representative of an extensive range of variations on a central theme. One dreadnought, one Auditorium. Let’s move in for a better look.

We’ll begin by looking at the VT Camphor Laurel Auditorium and kick off by saying that if you were associating ‘Camphor’ with camphorated oil and its use in both medicine and aromatherapy, you’d be dead right. There was definitely that distinctive scent when we first opened the guitar case and it has since filled the room with its menthol-like bouquet.

Camphor laurel is certainly a wood we haven’t come across before and a little research revealed that its highly figured appearance is complemented by tonal characteristics that boast a crisp, warm midrange with a good proportion of bass. Something we’ll confirm or deny when we get to the play test a little later on.

Meanwhile, we have to admit that this little Auditorium scores highly for visual appearance, which is something to bear in mind if figured wood is on your wishlist.

It’s always interesting to see what a manufacturer says about its own instruments, and in the case of the Camphor Laurel Auditorium, Fenech reports that its “Auditorium model is a culmination of years of experience making and voicing smaller-body guitars to produce exceptional volume and tone.

“Although similar in size to a classic OM, our design differs aesthetically, allowing for a sweeter and more modern blend of curves, and tonally by producing an articulate voice with rich overtones while retaining an impressive midrange response and focused projection.”

We’d have to agree that the actual size of this Auditorium model is closer to an OM, with an upper bout measuring 280mm, a lower bout at 381mm and a depth varying from 100mm at the neck joint and 120mm at the tail end. Meanwhile, its air of compactness is accentuated by a tight 220mm waist.

The soundboard here is Sitka spruce, which is still very pale in appearance, but the years will see this journey on to that classic amber hue. The furnishings on the guitar’s topside are refreshingly simple, with a subtle rosette and a faux tortoiseshell pickguard.

Ebony is the choice for the bridge (with a compensated saddle and bridge pins courtesy of Tusq), and the same timber is used for the fingerboard, with circular mother-of-pearl position markers. The neck is a finely crafted one-piece mahogany affair with a volute at the base the headstock, which itself bears a set of Gotoh tuners.

In terms of stage readiness, the Camphor Laurel comes fitted with the excellent LR Baggs Element VTC acoustic guitar pickup system, with its volume and tone controls tucked away on the player’s side of the soundhole.

Switching over to the VT Professional Blackwood now, it’s apparent from the offset that the same quality of workmanship and ‘simple but functional’ design ethos exists here, too.

This time the star of the tonewood show is Australian blackwood, and the Oz variety is one of a few similarly named woods on the world stage and shouldn’t, for instance, be confused with African blackwood, which is a member of the rosewood family (Dalbergia Melanoxylon), while Australian blackwood is a form of acacia (Acacia Melanoxylon). It has a look similar to mahogany, or perhaps a lightly shaded Indian rosewood.

In terms of what we can expect tonally from this particular timber, it is known for its warm midrange and is often compared to koa in this respect. A little known fact is that Australian blackwood’s heartwood fluoresces under blacklight. Who knew?

Fenech’s VT Professional range – VT stands for ‘Volume and Tone’, incidentally – is slightly higher up the ladder in terms of fixtures and fittings, but we find Sitka spruce once again for the top wood, with one-piece mahogany for the neck and ebony for the fingerboard, this time with oblong mother-of-pearl position markers and upgraded Gotoh tuners with vintage‑style buttons.

The dreadnought style is iconic in the acoustic guitar world, and Fenech has very sensibly left the formula alone, telling us: “Our version of this beauty has become renowned for producing a guitar with spades of low-end power, a sweet throaty midrange and brilliant trebles. It’s this unique combination of balance and power mixed with exceptional note separation that makes this guitar a must-have for any guitarist’s collection.”

Once again, it certainly looks like it means business in its demure and understated way and so it’s time to take both these instruments out for a spin and see what we find…

Specs

Fenech VT Camphor Laurel Auditorium

• Price: £2,449 (inc hard case)
• Origin: Australia
• Type: Auditorium
• Top: AA grade Sitka spruce
• Back/Sides: AA grade camphor laurel
• Max Rim Depth: 120mm
• Max Body Width: 381mm
• Neck: Mahogany
• Scale Length: 645mm
• Tuners: Gotoh
• Nut/Width: Tusq/45mm
• Fingerboard: Ebony
• Frets: 20
• Bridge/Spacing: Ebony/53mm
• Electrics: LR Baggs Element VTC
• Weight (kg/lb): 1.76/ 3.9
• Options: Fenech makes an extensive range of custom orders plus a number of ‘off the shelf’ models available every year See Fenech Guitars for further details
• Range Options: Fenech’s Auditorium body size is available in its Standard and Select Ranges, as well as the bespoke Custom Shop Masterbuilt Series. See website for more details
• Left-Handers: To order, no upcharge
• Finish: Super satin

Fenech VT Professional Blackwood Dread D78

• Price: £2,999 (inc hard case)
• Origin: Australia
• Type: Dreadnought cutaway
• Top: AAA grade Sitka spruce
• Back/Sides: AAA grade Australian blackwood
• Max Rim Depth: 120mm
• Max Body Width: 397mm
• Neck: Mahogany
• Scale Length: 645mm
• Tuners: Gotoh
• Nut/Width: 45mm
• Fingerboard: Ebony
• Frets: 20
• Bridge/Spacing: Ebony/55mm
• Electrics: LR Baggs Element VTC
• Weight (kg/lb): 1.86/4.12
• Options: See Camphor Laurel Auditorium 
• Range Options: Fenech’s D78 dreadnought is available in its Standard and Select Ranges, plus Custom Shop Bluegrass and Masterbuilt Series. See website for more details
• Left-Handers: To order, no upcharge
• Finish: Super satin

Playability and sounds

Returning firstly to the Camphor Laurel, the guitar is perfectly balanced in the hand, with a great-feeling neck, the profile of which is that midway point between chunk and slimness, with neatly manicured and finely polished frets. With the ‘Volume And Tone’ prefix in mind, we took our first strum and were rewarded with just that: an amazing amount of volume from such a trim body shape.

The whole frequency spectrum is very well represented, too, with a very good amount of growl to the bass end but shimmering, shiny trebles as well. And everything Fenech says about the warm midrange characteristics of the camphor laurel is right on the money.

It really is an engagingly friendly instrument to play – not too big for sofa noodles but just about right for any stage setting with a voice that flies in the face of its body size. We can sum it up by saying it’s a fingerpicker’s delight.

Back to the D78 and we anticipated more of the same and were not disappointed. The bigger body size means a bigger bottom-end, but there’s all the fullness you’d expect from a dread and also something extra in the form of depth and breadth.

Digging in with a hard strum, there’s a boisterous energy that remains toneful without ever becoming harsh. Lighten up on the right hand and you’re on a more subtle soundstage, with everything neatly drawn back, frequency-wise, but still fully represented. A singer-songwriter would delight in the power and tone present here.

As you might suspect, firing up the LR Baggs VTC on both added yet another blade to their Swiss Army knife set of tonal attributes. The D78 positively sang with the kind of richness and fullness that only a dread can give, and the Camphor Laurel proved to be a little fireball, too, with all the note separation and clarity you’d expect from a really good OM/auditorium.

Verdict

Verdict: ★★★★½

It’s amazing how sometimes you can take an unfamiliar make of acoustic guitar and befriend it almost immediately. The warm wash of top-class tone we experienced from both these guitars was impossible to resist and we found ourselves playing for fun, above and beyond what was necessary for writing this review. And that speaks volumes.

Both models are imbued with a high degree of playability and an easy ride, neither of them putting up a fight in any respect, which is exactly what you want before taking the stage with an instrument.

Guitar World verdict: Fenech might still be a new name this side of the world, but we suspect that it will quickly become one that is on every serious player’s want list!

Hands-on videos

Fenech

• Best high-end acoustic guitars 2025: 10 of the most lust-worthy instruments for guitarists
• This article first appeared in Guitarist. Subscribe and save.

Taylor's acoustic guitars are clean-cut, original and (most of the time) their sound owes little to the past. The benefits of that approach are all to be found in this neat and sleek Grand Auditorium cutaway 314ce Studio — but also one or two of the drawbacks.

So who is Taylor aiming at with this guitar? One clue is that, while relatively simple cosmetically, the 314ce Studio is built with solid woods throughout, rather than cheaper laminates. In fact, Taylor states that this model is now “the lowest-priced gateway to the solid wood experience,” though at $1,999 it’s hardly a beginner’s model. Think of it as a beckoning invitation to buy your first “serious” Taylor, if you will.

Specs

• Launch price: $1,999/£1,979
• Type: Six-string Grand Auditorium electro-acoustic guitar
• Made: USA (neck made in Mexico)
• Top: Torrefied spruce
• Back and sides: Sapele
• Neck: Neo-tropical mahogany, satin finish
• Scale length: 648mm (25.5”)
• Tuners: Taylor nickel
• Nut/Width: White NuBone/42.86mm
• Fingerboard/Radius: West African Crelicam ebony/15"
• Frets: 20
• Bridge/Pins: West African Crelicam ebony/Black ABS plastic
• Electronics: Expression System 2
• Left-handers: No
• Finish: Natural (as reviewed), Shaded Edge Burst ($2,099)
• Contact: Taylor Guitars

Build quality

To keep the price tag tempting, not all of this guitar is made in the US — the neck is manufactured over the border at Taylor’s Tecate factory in Mexico before the 314ce is assembled at the Californian El Cajon facility. Taylor’s sapele is used for the back, sides and the neck, instead of the increasingly expensive mahogany that it resembles. However, with a rich, auburn color and attractive grain stripes running through it, the sapele used on this guitar certainly doesn’t look like a cheap option.

Turning our attention to the top, we find a solid spruce soundboard that’s been heat-treated using a process called torrification. This roasting technique was developed to give brand-new spruce tops similar tone and stability to those of vintage guitars that have settled and mellowed for decades.

Other standout details on the 314ce include a slightly narrowed neck, which we measured at 43mm (1 11/16th inches) at the nut, which might be Taylor’s attempt to make the guitar more user-friendly to players crossing over from electric. Supporting the spruce top, we also get Taylor’s V-Class bracing system and finally, there’s Taylor’s simple but dependable 3-control ES2 pickup system aboard.

The gloss finish of the top is gleaming and mirror-flat, while the satin-feel neck is tactile and silky to play. That’s a good start and plays to Taylor’s strengths in making impeccably turned out, detail-driven guitars. Fretwork is similarly tidy, while the rolled-in (subtly bevelled) edges of the fretboard give the neck a comfortable, played-in feel.

Playability and sounds

Strumming the 314ce Studio reveals a bright, breathy and clear voice with piano-like composure — and that finely intonated character really helps reveal harmonic detail when playing chords with ringing open strings. No particular era of music or acoustic heritage is evoked, just a harmonious modern voice that’s quite neutral in character.

One thing we’ve noticed in the past about V-Class braced guitars, however, is that you seem to trade just a little bass for the other virtues it offers (sustain, improved intonation higher up the neck) and even our shallower-bodied Martin 000-14 had a touch more low-end than the 314ce Studio.

Detuning to DADGAD fills things out nicely, however, and despite that slightly narrow neck, the fantastic intonation and silvery voice could make this a fingerstyle player’s dream. The ES2 pickup system is the jewel in the crown here, though. It does a beautiful job of turning all that clarity into a focused but attractively natural amplified voice.

Verdict

Combined with Taylor’s slinky playability, the ES2 makes the 314ce a serious live performance tool. Overall, it adds up to a rather charming package that, while not cheap, is fairly priced (with premium gig bag included), crisply built and shines like a gem on the live stage.

Guitar World verdict: An agile acoustic with a sparkling voice at an attainable price, the Taylor 314ce Studio proves a worthy investment for home, studio and especially, the stage.

Hands-on videos

Acoustic Letter

• Taylor Gold Label 814e SB review

Every guitar player should have at least one nylon-string guitar in their collection. Even better is a nylon-string acoustic-electric that can hold its own amongst other amplified instruments on stage.

The Cort Sunset Nylectric DLX leans more towards the electric than acoustic side of the spectrum with its chambered solidbody design, but that makes it a great choice for electric players who want to explore the nuances and expressiveness of a nylon-string instrument without having to adapt their playing style too much to a traditional classical or flamenco guitar.

Specs

• Launch price: $999/£572
• Type: Thinline cutaway-electro nylon-string
• Top: Flamed Maple Veneer on Solid Sitka Spruce
• Back: Chambered mahogany
• Neck: Mahogany, bolt-on
• Scale length: 648mm (25.5”)
• Tuners: Classical open-gear with ebont buttons
• Nut: Graph Tech Tusq / 48mm
• FIngerboard: Ebony, 15.75″ radius
• Frets: 22
• Bridge: Ebony with Graph Tech Tusq saddle
• Electronics: Fishman S-Core VTB, Volume, Treble, Bass
• Left-handers: No
• Finish: Tobacco Sunburst Gloss
• Contact: Cort Guitars

Playability and sounds

Featuring a chambered mahogany body with a solid Sitka spruce top covered with a flamed maple veneer, the Cort Sunset Nylectric DLX looks more like a steel-string acoustic-electric or even a solidbody electric (minus the pickups and electric hardware).

The bolt-on neck joins the body at the 16th fret (instead of the 12th), and a deep cutaway and contoured neck-body heel joint provide unrestricted access to the entire fretboard. The body width measures slightly more than 1.75 inches, so it even feels like an electric solidbody instrument.

However, the Nylectric’s slotted headstock, ebony bridge with tie block and mahogany neck with a relatively flat radius (15.75-inch), ebony fretboard with 22 medium-profile frets, 25.5-inch scale length and U-shape profile provide familiar nylon-string aesthetics.

The nut width, which measures 1-7/8 inches is slightly narrower than a traditional classical guitar to allow electric players to adapt to the neck more easily. Internally, the top is fan braced to provide similar sonic characteristics to a traditional acoustic nylon-string guitar.

The built-in Fishman Sonicore under-saddle piezo pickup/preamp system is designed specifically for nylon-string guitar to preserve natural resonance and expressive nuances.

Controls consist of volume, treble and bass knobs, with the EQ allowing players to dial in more presence to cut through a band or warmth for fuller-sounding solo performances.

Thanks to its chambered body design, the Sunset Nylectric DLX can be played unplugged at a decent volume level for practice, although by no means does its purely acoustic sound compare with that of a finely crafted classical or flamenco instrument. However, the bass is nicely round and full-bodied and the treble is sweet and expressive.

Those acoustic tones provide a solid foundation for the Cort’s amplified tones, which is where the Nylectric shines. The chambered body provides “air” and resonance that makes each note sound lively and three-dimensional instead of dry and flat.

Verdict

Verdict: ★★★★½

The pickup can handle rather aggressive flamenco strumming techniques without distorting or compressing the tone, although it may not be responsive enough to body slaps to please an Andalusian purist.

Although the Nylectric sounds more than good enough on its own, it really shined when it was processed with a touch of room reverb, which brought the sound even closer to that of a mic’d classical guitar.

Guitar World verdict: The Cort Sunset Nylectric DLX is an ideal “gateway” instrument for electric players who want to add nylon-string classical/flamenco tones to their stage and studio repertoires.

Hands-on videos

Cort

• Córdoba Stage review
• This article first appeared in Guitar World. Subscribe and save.

Masterminded by the godfather of guitar relic’ing, Tom Murphy, each Murphy Lab model is a testament to the team’s skill in expertly aging guitars. After first introducing the Murphy methodology to electric guitars, the firm later segued into the acoustic guitar space and continued to hoodwink even the most seasoned guitar connoisseurs.

“Tom Murphy created his finishes to make the electrics feel and look like road-worn instruments. Then Gibson said, ‘Hey, let’s do some acoustics this way, too,’” senior product development manager Robi Johns tells Guitarist.

“That was about four years ago. My initial thought was, ‘I don’t know if people are looking for beat-up acoustics.’ But we released five models with light aging in 2023.”

Turns out, these test models managed to capture many a guitarist’s imagination...

“Now, I hear from the connoisseur artists: ‘I was down in Nashville and I ran into this Murphy Lab Light Aged Jumbo, and I can’t sleep any more because I just gotta have it. But they said they couldn’t sell it because it’s a display model. Please can you pull some strings so I can buy it?’”

He continues, “Last year, we announced the Murphy Lab Heavy Aged Acoustic Collection, and they’re just starting to hit the market. I actually said to Tom, ‘Thank you, you’ve created a time machine for us.’”

One such guitarist who was fooled by the Murphy Lab models was Peter Frampton, who requested his own custom build. “He has a 1939 L-00. He wanted an L-00 from the Murphy Lab because he’s heard these things are magic. So I put together the design for him. We used a Light Aged finish.”

Frampton's response after trying out his brand new (yet heavily relic'd) guitar? “I have his message on my phone: ‘Robi, I don’t understand, this sounds better than my ’39.’ I knew that he was right.”

As Johns succinctly puts it, “With all of the elements that we’re doing today, we’re finding out that the overall effect is that they might sound even better than the ones from that era.”

For more about Gibson Murphy Lab, plus new interviews with Joe Bonamassa and Chris Buck, pick up your own copy of issue 526 of Guitarist at Magazines Direct.

The collection was first inspired into existence as the firm embarked on an “exploration of warm, heritage-inspired acoustic flavors”. That has now prompted master builder Andy Powers to reimagine the Grand Pacific body shape, which has been given a deeper body for “enhanced sonic fullness and low-end expansiveness”.

The Gold Label Grand Pacific bodies, then, are 3/8-inches deeper than the firm’s usual Grand Pacific methodology. That small-but-impactful change has thus given the guitars “extra lung capacity for deeper resonant frequency, low-end power, and projection”.

According to Taylor, even the treble notes benefit from the bassier personality – but it's one Taylor has worked hard to tame so it doesn’t impede the acoustic guitar’s wider musicality.

Built around two tried-and-tested tonewood pairings, the guitars see torrefied Sitka spruce tops join forces with either mahogany or Indian rosewood, depending on the model.

Each wood pairing features three top finish options – Natural, Sunburst, and Blacktop – exclusive to each model. Fretboards are made from West African Crelicam ebony, and all bridges are sourced from Honduran rosewood.

All six are voiced with Taylor’s proprietary Fanned V-Class bracing architecture, which is a Gold Label exclusive. Its roots can be found in Taylor’s V-Class bracing, which has been making waves in the years since it launched.

Debuted in 2018, it advanced traditional X-bracing builds with improved volume and sustain, while simultaneously improving the instrument’s intonation. January’s first Gold Label drop, comprising Super Auditorium builds, provided the new bracing system its first home, and the second wave of releases “leans even more toward a warm, powerful sound”.

“Compared to the Super Auditorium body, the curves and depth of the Grand Pacific produce even more volume and tonal dimension,” Andy Powers, Taylor's Chief Guitar Designer, President, and CEO explains. “Its voice is earthy, honest, and uncomplicated. It’s a reliable acoustic workhorse – both seasoned and soulful.”

Elsewhere, Taylor’s patented Action Control neck sees a long-tendon joint bolster its resonance and allows players to easily fine-tune string height. Amplification comes from an LR Baggs Element VTC pickup, and there are Taylor-made nickel tuners.

For additional customization, the two Sunburst-topped acoustics are available with a Firestripe or Cream pickguard, technically making the total count eight.

Reviewing the Taylor Gold Label 814e SB in March, Guitar World's Chris Gill likened the American guitar giant's new twist on the acoustic recipe to 4K Dolby Atmos as it stormed to a five-star review.

The Gold Label 517e is $2,599 in a natural finish, rising to $2,799 for the Blacktop, and the 517e SB models are $2,799 with Cream or Firestripe pickguards. As for the Gold Label 717e models, the natural is priced at $2,799, while its variants are all $2,999 apiece.

All guitars also come with a deluxe hardshell case.

Head to Taylor Guitars to view the range in more detail.

The firm’s beloved California range can be traced back to the 1960s, and early models found favor among the likes of Johnny Cash and Elvis. They developed a reputation for being comfortable, versatile, and durable – key traits they are still known for today.

Leaning into such history with the California Standard range, Fender says it is “reimagining the acoustic experience for daring and adventurous players”. The new strummers feature all-laminate constructions and plenty of likeable specs, with Fender’s charm arriving here at a cut price.

The series is split into two, with a singular orchestra build (Monterey) augmented by three takes on the dreadnought body shape (Redondo): a standard model, one with a cut-away, and a travel-friendly miniature. They also all rock a Fender headstock, which is often a divisive design choice when it comes to acoustic guitars.

What's notable here, though, is that they all weigh in cheaper than the regular California acoustics – even the California Players, which, in some cases, had price tags as low as $399.

Tailored for soloists and students, the California Standard Monterrey E ($262.99) offers a mid-sized Orchestra body shape and “detailed, balanced tone” with a spruce top and sapele back and sides.

That tonewood cocktail promises an “impressive and satisfying tonal character” and is put together with a 25.5” scale and thin C-profile neck. Other specs include an oiled walnut fingerboard and bridge, and sealed gear tuners.

Fender electronics are included, and there’s also a tuner onboard. Fender is also nodding to the California Series heritage by offering three eye-catching colorways: a Three-Color Sunburst, Surf Green, and Natural Sapele.

The California Standard Redondo ($214.99) pulls a “robust, deep tone and versatile personality” from its dreadnought body, with the same spruce/sapele construction. The rest of its specs also closely mirror that of the Monterey E, but is bereft of electronics.

Here, the Standard Redondo gets a long-lasting gloss finish with colorways taking in Natural (also available as a left-handed guitar), Three-Color Sunburst, and a minimalist Black.

The Standard Redondo also comes in pack form, with a guitar, gig bag, strap, picks, a spare set of strings, and a three-month subscription to its innovative learning platform Fender Play included in the ($262.99) package. That’s a solid starter pack for newbie players.

By comparison, the California Standard Redondo CE ($262.99) is a cutaway alternative to the above. It again boasts the same specs and construction and offers the same electronics as the Monterey. It also adds a Fiesta Red colorway to the mix for a little more fire.

The California Standard Redondo Mini ($209.99) then shrinks down that recipe without messing with its flavors. Its scale is a stunted 22.75”, but otherwise the same construction and hardware choices remain. This one is also sans electronics but could be an ideal campfire companion when space is premium. Choose from Fiesta Red, Surf Green, Black, Three-Color Sunburst, and Natural Sapele colorways.

With Guild launching its keenly spec'd $300 acoustics, conveniently named the 300 Series, Harley Benton dropping budget builds like confetti – see its sub-$230 dreadnought and Fishman-loaded CLO-CGs as evidence – and Cort believing its Essence designs represent the pinnacle of affordable acoustics, competition in the cheap acoustic market is fierce. Fender has entered the group chat in a timely manner.

Not only that, it sees Fender double down on its desire to drag prices down through its Standard initiative, which has so far seen the arrival of the Fender Standard range of Strats and Teles, and the Acoustasonic Standard.

Visit Fender for more.

It’s likely to divide fans (similar to how Fender’s Acoustasonic range split opinion) but it’s certainly an interesting concept.

Gibson is approaching cautiously here. Unlike its previous Les Paul acoustic iterations – which came in 1969 and 2000 for three and four-year runs, respectively – the body shape is a lot smaller this time around. Featuring a parlor-sized body “reminiscent of a scaled-down SJ-200”, its compactness may just sway those on the fence about this hybrid aesthetic.

Taking tonewood cues from the source material, its back and sides are crafted with solid mahogany, and there’s a AAA flame maple top for “a bit of bite and note definition to the warm tone from the mahogany body”.

The bookmatched top also benefits from traditional scalloped X-bracing with single-ply cream binding found all over to ensure the Les Paul’s legendary chic carries across.

Mahogany is also employed for the neck, which has a notable Advanced Response profile. Expect a neck that’s not “too beefy nor too slim”, while its 12"-radius, 19-fret fingerboard is made from rosewood. Pearloid trapezoid inlays harmonize with the guitar’s cream binding (and continues the LP vibe, naturally) and the neck attaches to the body with a compound dovetail neck-to-body joint.

Rosewood returns for the bridge, which is installed in a belly-down orientation. TUSQ is the material of choice for its nut and saddle, and its Grover Rotomatic tuners are nickel-plated.

Another hint of the parlor’s electric lineage comes via the mother-of-pearl Gibson logo and gold Les Paul Model decal on the headstock.

And, seeing as it’s part of the LP family, it would be remiss not to saddle this thing up with some pickups. An L.R. Baggs VTC +4 under-saddle piezo pickup and active preamp are the electronics of choice here.

As the system's name implies, this model has an output 4dB hotter than the standard VTC system. Still, we can't imagine this guitar is going to be hooked up to a Marshall stack.

There are two finish options available, Vintage Sunburst and Vintage Cherry Sunburst, and both are available as left-handed models too.

The Gibson Les Paul Parlor is priced at $3,999 and comes with a hardshell case.

Head to Gibson to oggle it some more.

Gibson has been evolving its acoustic range in 2025, with top picks including a new Acoustic Specials series that brings its most beloved (and expensive) designs to lower price points, a downsized, single-cut take on the SJ-200 via the Parlor Rosewood EC, and a signature, twist-laden take on the J-45 for Margo Price.

The Strandberg Guitars founder was speaking to Guitar World on the day of his recent guitar health seminar in collaboration with UK music store, Andertons. During the conversation, he confirmed that a Strandberg acoustic was indeed in the works.

“We're working on it at the moment,” he confesses when asked about the possibility of a headless acoustic. “And we kind of teased it as an April Fools thing [in 2023] – we actually showed an early prototype acoustic.”

Now, the firm is certainly no stranger when it comes to elaborate rouses on the silliest day of the year – it even claimed that styrofoam Strandbergs would put the tonewood debate to bed for good in 2022. Still, even by its own lofty comedic standards, Strandberg's 'prototype hybrid percussive guitar-like instrument' was especially madcap.

“We looked at trends and the needs of modern players, and we thought it be cool to combine the guitar with percussive techniques,” Ola said in the faux announcement video, which showcases a hollow acoustic build that boasts two sound holes: one on the upper bout and one below the bridge.

It is a nifty workaround Strandberg's EGS bridges, which need to sit at the edge of a guitar body to work.

Indeed, much of the video finds Strandberg artist Per Nilsson treating the rear of the guitar like a drum, but the guitar in the video is very much real – and it's a very tidy concept.

“It was intentional to keep people guessing, right?” Ola reveals now. “If it was real, or if it was just an April fool – that was a prototype.” In hindisght, we should have known. The 2023 prank is the only Strandberg April Fools that doesn't have a dedicated page on its website, complete with a gallery of images. They've kept this one away from prying eyes. And with good reason.

The prototype features Strandberg's signature EGS bridge and headless design, but there is notably no room for fanned frets. But a related earlier prank, which drew from a similar world, did.

Strandberg's 2021 April Fools skit was presented as every other official announcement, with Ola unveiling “the next stage in the development of Strandbeg” with the Madeira ukulele.

Named after the sun-soaked Portuguese territory, the Strandberg Madeira was touted as “the world’s first headless, fanned fret ukelele”. The final acoustic build is likely to be a more traditional size, with the minuscule prototype perhaps used as a first, tentative step into unchartered waters.

It looked like the lovechild of a traditional ukulele and Strandberg’s space-age design right down to the fanned frets and a leg carve. But it also boasted a hollowed-out construction, and, as far as jokes go, it sounded pretty authentic.

It’s unclear whether the ukulele was always meant to be the first step to a bigger vision, or if the acoustic concept only truly took hold in light of the uke build. Either way, a fully-fledged Strandberg acoustic is a bold new venture for the firm.

At the guitar health event, Ola Strandberg also spoke about the unlikely origins its trapezoidal EndurNeck, claiming an everyday household object as a key source of inspiration.

Since its inception, Strandberg has helped reverse the fortunes of the headless guitar, and today the design is more popular than ever. Plini has, in part, credited their portability as a big plus, in the same way that amp modelers like the Quad Cortex are putting heavy tube amps to the sword. Could Strandberg be about to have a similar effect on the acoustic market? Only time will tell.

Estimated to fetch a high of $96,000, Julien’s Auctions perhaps slightly underestimated the size of the Swiftie fanbase, as it smashed that target and went comfortably into a six-figure sum.

The two artists left their mark on the guitar on February 7, 2009, the day before the pair’s duet take of Swift’s Fifteen at the Grammys.

The high sales figure was achieved despite the fact that Swift played a different guitar – a Taylor K65ce Koa 12-String – on the night.

It was an evening that also saw Paul McCartney and Dave Grohl join forces on I Saw Her Standing There, and John Mayer, B.B. King, Buddy Guy, and Keith Urban unite for a tribute to Bo Diddley, who had died the previous June.

Swift was just 19 at the time of the performance and would claim her first Grammy wins the following year, including Album of the Year for Fearless.

A total of 22 bids came in for the guitar, which saw its tentative estimate of $6,000–$8,000 surpassed by bid nine during the auction on May 31.

The lot became the second most valuable of Julien’s latest Music Icons collection, missing out on the top spot thanks to a Steven Tyler’s Dream On grand piano racking up a $130,000 sale.

Elsewhere, a score of notable six-strings also went under the hammer. A Charvel Art Series electric guitar, played on stage by Eddie Van Halen, doubled its estimate as it went for $78,000. Another Eddie axe, a Fender custom Frankenstein Stratocaster, sold for $45,500.

Several items related to Kurt Cobain were also listed – including, bizarrely, a portion of a Melvins tour van that featured a mural done by Cobain. It sold for $26,000. Considering the two most expensive guitars ever sold at auction belonged to Cobain, it is no surprise.

Notably, however, Cobain’s 1989 Takamine acoustic remains unsold after its reserve wasn't reached. It was used during a recording session in November 1991 in Hilversum, Netherlands in the build-up to Nirvana's show at the Paradiso later that night.

The guitar was estimated to reach $300,000–$500,000, with a starting bid of $75,000.

In recent auction news, groundbreaking filmmaker David Lynch's guitars are currently up for auction – and if you're in the market for an off-kilter guitar, there's also a custom-built five-necked guitar up for grabs.

Blending folk, gospel, and blues in her signature, Grammy-nominated style, the record shines through June’s two-sided guitar playing – defined by grungy electrics and gentle acoustic guitars.

On her 2014 album, Pushin' against a Stone, a sentimental Gibson acoustic proved the star of the show. Then, disaster struck.

“I had just made Pushin’ Against a Stone and was flying back to Tennessee from Canada when my guitar was busted up on the flight – totally destroyed,” she tells Acoustic Guitar.

“It was a Gibson, like Robert Johnson played, an L-1. It was tiny, fit perfectly to my little body, and it broke my heart. I named that guitar Clyde after my grandfather because he gave me my first guitar, a little red Mexican guitar with paintings on the front that was in his closet my whole life until I finally begged so long for one my Granny made him give it to me.”

Owls, Omens, and Oracles was tracked live and committed to tape under the leadership of producer M. Ward. But before that, she confided in a contemporary blues rock luminary for help in replacing her beloved Clyde.

“When I got to Nashville and told Dan Auerbach [of the Black Keys] my Gibson was busted, he said, ‘Get a Martin – try something new. Go downtown to [vintage guitar store] Gruhn and play them and see what happens,’” June says.

Strangely, she goes on to reveal that “the salesman wouldn’t sell me the first guitar I liked,” but he was, at least, forthcoming with alternative options.

“He brought five or six more in that style and said, ‘You’re gonna sit here and play each one, and the one that you feel is the one you’re gonna get.’

“I fell in love with one [a 000-15] and I went to buy it,” she continues. “He said, ‘Could you read out the serial number to me?’ He was filling out this little form and I read the serial number. The last four digits were my phone number, and I was just like, ‘This is definitely mine!’”

Elements of what she looks for in a guitar were revealed when asked if she ever uses picks.

“No,” she responds. “I like to feel the strings on my skin, the vibration of the instrument against my body, the smell of the wood.”

For live, she's installed L.R. Baggs pickups for the 000-15, and she has Auerbach to thank for connecting her with Clyde’s faithful replacement.

So far in 2025, Martin has joined forces with Billy Strings on two signature models inspired by his 1940 D-28, dropped a double-neck that's been 100 years in the making, and added Dreadnoughts to its Junior Series.

• Head over to Guitar Center and grab yourself up to 35% off acoustic guitars from Taylor, Martin, Epiphone, and more

Featuring everything from premium gigging workhorses to beginner-friendly strummers, GC’s latest sale represents one of the best opportunities to save big on an acoustic guitar. Some of my favorite guitars are available in the sale, so if you’re after a new acoustic it’s absolutely the best place to be shopping.

I’ve had a look through the sale already to see what’s available, and the first deal that caught my eye was a cool $200 off one of our favorite acoustics, the Taylor 414ce. It’s the Sunset Blvd limited edition version, and the regular version of this guitar is one of our top picks for our best acoustic guitars guide. I was lucky enough to demo it for that guide and I found it to be a brilliant all-rounder, capable of everything from hard strumming to gentle fingerpicking, and although not the biggest discount going in the sale, I rate it very highly even at full price.

The Martin Special D is an exclusive model for Guitar Center, similar to the Martin D-10. It’s got a massive $200 reduction in the sale, making it superb value for money at well below the $1,000 mark. It’s an all-solid dreadnought construction, which means superb tones and excellent volume and projection. Being a Martin you’ve got plenty of assurance that it’s well put together, and it’s one of the best deals I’ve seen on big body acoustic this year.

Finally, if you’re after something a little lower in price point, have a look at the Yamaha FX335C. It’s got a $50 discount which brings the price down to below the $250 mark, but don’t let the low price fool you, Yamaha acoustics give you a lot of bang for your buck. It’s got built-in electronics which adds to the versatility and enables you to gig it if you want, while the slim neck profile makes it a great shout for beginner guitarists, giving an ultra-comfortable playing platform.

From Tom DeLonge-esque Strats to double-necks inspired by SGs and sub-$200 resonators, the Thomann-owned brand is famed for its budget builds – and the not-so-nicely named HBJ-45E SBK stays true to that narrative.

Sporting a solid Sitka spruce top, a pickup/preamp system with a three-band EQ, and a built-in tuner, it’s certainly well-kitted out. But while cosmetically it gives off the charm of Gibson’s famed workhorse acoustic – save for its lack of pickguard – there are plenty of touches that see the guitar veering down its own lane.

The round shoulder dreadnought has an ovangkol body, which is an African relative of rosewood that helps keep the cost down, as well as a more traditional mahogany neck. Its fretboard is made from blackwood, said to offer glassy tones and plenty of sustain, while cream binding juxtaposes its black body finish for a classy look. Those looks are rounded out by simple dot inlays and a natural finish for its headstock.

The neck joins the body at the 14th fret, so upper fret access shouldn't be too much of a chore, and a graphite nut and nickel tuners hope to offer fairly reliable tuning stability. Its bridge is also made from ovangkol, which Harley Benton says improves resonance and sustain.

The guitar is crafted to a 25.5” scale and offers a 43mm nut width and 356 mm radius. That should make it a comfortable strummer for beginners and seasoned veterans alike.

An own-brand HB-03 pickup system, as its maker says, means this should be “ready for the stage right out of the box”. Controls for Bass, Middle, and Treble sit with the chromatic tuner on the side of the side of the body. There's a minuscule but effective screen at the top of the control panel for players to swap tunings on the fly.

Of course, considering it has a humble $228 price tag, its specs were never going to be out of this world, but the cheap gear maker is once more making some interesting, cost-cutting choices without harming the overall effectiveness of the build.

The firm, which seems to drop new cent-saving six-strings every five minutes, has come under scrutiny in recent times. That prompted YouTuber and metal guitarist Maxxxwell Carlisle – who does admittedly have a signature guitar with the HB – to dispel the two biggest myths surrounding its often-crazy low prices. See its new $140 Strat, which has an effects unit built in, for evidence.

Ultimately, though, the spec sheet offered for the price here definitely has its appeal. With budget gear, something has to give, and the features, largely, have remained impressive. In fact, it could yet be a key player in the budget beginner acoustic market.

Indeed, as Harley Benton says of the guitar, “If you’re looking for an acoustic to accompany you in the studio, on stage, or just honing your skills at home, [it] is ready for any occasion.”

The Harley Benton HBJ-45E SBK is out now and is priced at $228.

Head to Harley Benton to learn more.

The Limited Edition Jim Dandy Parlor Solid Top and Limited Edition Jim Dandy Concert Solid Top acoustic guitars deliver the same small-but-versatile template that pays homage to 1930s designs.

They’re united by their shared X-braced bodies, which are brought together with solid spruce tops. That’s a marked glow-up on the laminated basswood and sapele tops that feature on the existing Jim Dandy models.

Elsewhere, they recruit laminated sapele for the back and sides, but arrive in either Parlor or Concert shapes.

Both are small, then, but the slightly increased size of the Concert will appeal to those wanting a touch more projection and maneuverability. It has a 24.75” scale length compared to the 24” of the parlor.

Gretsch believes that size doesn’t always matter, though. The Parlor, it says, “Punches above its weight with a distinct tonal clarity and throaty midrange.” The Concert, meanwhile, “strikes the perfect sweet spot of versatile tone and approachable playability for a wide variety of musical settings”.

Elsewhere, C-shaped necks are capped with walnut fingerboards and white pearloid inlays, and their bodies get a new, straight-out-the-time-machine Heritage Burst finish that oozes rich, retro appeal.

Other hardware touches include open-gear, die-cast tuners, vintage-style pinned bridges made from walnut, and synthetic bone nuts to keep the price down without compromising performance and sound. And, priced at $249.99 apiece, there’s a lot to admire for not a lot of cash.

The last Jim Dandy Concert model was met with glowing praise, with GW scribe Jonathan Horsley stating: “Anyone looking for a budget acoustic with retro looks will be charmed by ol’ Mr Dandy. It’s a hard guitar to put down.” All evidence suggests the story should be no different here.

Head to Gretsch to learn more.

Sounds far-fetched, but this is where we are at with prestige TV drama, and if you’ve been watching HBO’s The Last of Us you’ll recognize that this is the life that Pedro Pascal’s Joel Miller and Bella Ramsey’s Ellie Williams are living. And you can make your doomsday prepping every bit as musical, because Taylor has just unveiled an exacting replica of the 314e Grand Auditorium cutaway you see the pair play on the show.

We love a Taylor guitar as much as the next post-apocalyptic survivor but in a world ravaged by a fungal infection we would rather have a tube of ointment. Maybe that is in the guitar case. Tim O’Brien, Taylor’s VP of marketing, draws the link between Taylor’s guitars and the hit show that many of us have missed.

“The Last of Us is a story of resilience, connection, and finding beauty amid harsh realities – themes that resonate with the emotional expression a Taylor guitar offers players,” says Tim O’Brien, Taylor’s VP of marketing. “We’re honored to collaborate with HBO and Sony Pictures Consumer Products to bring this iconic instrument to fans and players alike.”

The Last of Us certainly ticks the boxes for resilient. There are all solid tonewoods here. There’s solid Sikta spruce on the top, solid sapele on the back and sides, a satin-smooth finish. Under the hood, you’ve got V-Class bracing. This will sing all right.

There are no electronics but where on a ruined planet are you going to find a workable acoustic guitar amp? Exactly.

Other Taylor details are present and correct. That means a West African Crelicam ebony fingerboard and a tropical mahogany neck. Other details are more decorative – this is Taylor showing off, and making this one for the collectors, whether you watch the show or not.

The third fret is graced by a moth inlay, which Taylor says is “reflecting the story’s themes of rebirth and beauty amid catastrophe”, and which we say makes this also a neat choice for a Silence of the Lambs super fan. The guitar is finished in Tobacco Sunburst and has a custom double-ring rosette and binding in grained ivoroid.

Grained ivoroid? Now, that sounds like something you’d need a tube of ointment for.

The Last of Us 314e is available now, it is built to order. Expect delivery between six and 10 weeks. See your local dealer to order. Price $2,799. For more details, head over to Taylor Guitars.

Guitars this old are extremely difficult to come by – just ask film composer Ludwig Göransson who had to scour the globe for a 1932 Dobro resonator guitar for Sinners – let alone ones steeped in as much history as this.

“Offered here is one of the most significant surviving acoustic guitars from the late 1960s rock era – an ultra rare 1913 Gibson Style O Acoustic Archtop, affectionately known as ‘Pattie,’” the listing reads.

“Played/owned by Eric Clapton and George Harrison during their formative songwriting collaborations in 1968, and later owned by Delaney Bramlett, this is a rare and culturally critical guitar directly tied to the end of both The Beatles and Cream, the birth of their respective solo careers and their earliest songwriting sessions for Badge, October of 1968 in Los Angeles.”

Harrison and Clapton co-wrote Badge, from Cream’s final album, Goodbye, and they’d soon embark on successful solo careers in the wake of their bands not surviving the new decade.

The guitar can be seen in the Eric Clapton documentary Life in 12 Bars, with Harrison known to have played it during the writing of Badge. He’d later lift the song’s bridge section for Here Comes The Sun, which was released the following year. The guitar, then, has links to the final records from both legendary bands.

The listing goes on to say that the Gibson was used “extensively in songwriting circles during the creation of Superstar, Let It Rain, and other works that helped launch Clapton's solo career, the formation of Derek & The Dominos, and Harrison's All Things Must Pass era”

It features tuners dating to the 1950s–'60s and has undergone several period-correct repairs, including a neck reset, fretboard binding, bridge replacement, and a refret.

There’s no denying how gorgeous this instrument is. With a curvy horn that would make Prince purr and a highly worn top that symbolizes how much of a workhorse it was for two of Britain's most accomplished players, it's hardly surprising that it's listed for $949,999.

Built over 110 years ago, the guitar’s surprise sale, by the late Delaney Bramlett’s estate, presents a massive opportunity for vintage gear collectors. Any would-be new owners will need deep pockets, but this is museum-grade acoustic. It feels like the kind of guitar Jim Isray – the owner of some of the world’s most valuable guitars – would be all over.

Interested buyers can request a historic/forensic/analysis dossier to inspect the instrument at the seller’s Berlin, NJ headquarters by appointment.

Head to Reverb to see the listing.

The instrument, which is headlined by a smaller, comfort-first body shape “reminiscent of a streamlined SJ-200” – a guitar adored by Brian May, George Harrison, and Johnny Cash.

Said to be a meticulously crafted instrument – which accounts for its $2,999 price-tag – such an eye for detail is the reason it sounds so deceitfully big.

Naturally-amplifying features include a dovetail neck joint, a radiused top, and traditional scalloped X-bracing, while the employment of L.R. Baggs VTC electronics means the guitar is equipped for “intimate café shows” while also being “ready to ignite a stadium.”

Elsewhere, there’s a gloss nitrocellulose lacquer-finished solid Sitka spruce top, paired with solid rosewood back and sides and accented with multi-ply binding.

Its mahogany neck gets a satin finish and an Advanced Response profile, which has been hand-shaped to nestle snuggly into a player’s palm – Gibson reckons it has the Goldilocks-sponsored ‘just right’ balance between thick and thin profiles here.

Rounding out the tonwewoods is a “smooth-playing” 16” radius rosewood fingerboard, adorned with 19 standard frets and mother-of-pearl parallelogram inlays.

Premium appointments extend to the TUSQ nut, saddle, and bridge pins to aid tuning stability. Its cutaway, moreover, means access to the higher frets is a doddle, making unplugged Yngwie Malmsteen covers easier than ever… if you ever feel the need.

The firm is no doubt shooting for elegance with its looks – a faux-tortoiseshell pickguard is a standout there, while the Rosewood Burst ensures it looks as warm as we’re told it sounds.

All those aspects come together for a guitar that wants to do something a little different, and, like a pre-war Martin, outlive its owners without ever lacking in muster.

“The guitars that we’re seeing every day are people’s dream guitars,” says Gibson Acoustic Brand Manager John Hannigan. “We’re seeing these instruments from start to finish, knowing that people are going to pass these guitars through the generations of their families. The guitars we’re building are heirloom-quality instruments. These guitars will last a lifetime and longer.”

The Parlor Rosewood EC costs a pretty penny at $2,999 but comes with a hardshell case to help soften the blow.

Head to Gibson to learn more.

The release follows what has already proved a busy year for Gibson's acoustic crafters. In March, it dropped its new Acoustic Specials series that brings Parlor EC-like levels of craftsmanship to lower price points – the same month Margo Price's signature J-45 with a twist was launched.

May's signature, meanwhile, is home to a hidden but heartfelt Freddie Mercury tribute so the Queen guitarist can always carry a memory of the singer with him.

Along with our pictured Master 400 – Stromberg’s flagship acoustic archtop – there is also the Master 300 (£6,999), and both are very limited. As this year progresses we’ll also see the unlimited Hanover Series models (from £2k), which should broaden the appeal.

Charles A Stromberg, a Swedish immigrant, started his business in Boston in 1906 offering a range of instruments, including banjos and drums, although little is known about the size of his company.

His oldest son, Harry, worked with him until 1927; his younger son, Elmer, started in 1910. Stromberg built a reputation for finely crafted banjos and he began making carved-top guitars, possibly as early as 1927.

The instruments were based on a 16-inch body (406.4mm in today’s money) called the G series, reflecting the move from banjo to guitar by the leading players of the day.

Evidence based on surviving Stromberg models suggests that, although the serial numbers started at 300, some 636 guitars were made before both Charles and Elmer passed away in 1955 and the original Stromberg company ended.

The later-period guitars were highly revered, as are surviving examples. Freddie Green, who joined Count Basie’s band in 1937, became known as ‘Mr Rhythm’ or “the most famous big-band guitarist of them all”, and by late 1940 he’s pictured with a blonde Stromberg Master 400 (which he only stopped using in the late ’50s after the death of Charles and Elmer resulted in a rise in value of the brand).

“These guitars are among the most sought-after of all rhythm guitars,” says George Gruhn, guitar historian. “[They] possess a sound of their own, epitomised by a power and projection unsurpassed by any other archtop acoustic.”

Guitarist’s Neville Marten says of the pictured Stromberg: “It’s a big bold blonde with tons of power in the bass but plenty of typical archtop treble to cut through the band.

“You’ll not be playing second fiddle to anyone with this fabulous beast in your hands. Sit with it for five minutes, look at the clock and an hour’s gone before you know it.”

• Contact: Stromberg Guitars 
• This article first appeared in Guitarist. Subscribe and save.

Aspiring guitar builder Jukka Sollasvaara and one of his friends have built what might just be the world’s heaviest acoustic guitar in a madcap experiment that swaps out tonewoods for concrete.

Guitar World is no stranger to alternative building materials, having been impressed and stupefied by 50lbs copper guitars, fully-working aquarium builds, and an axe made from 10,000 leaves. But this might just be the wildest DIY job we've seen as far as acoustic builds go.

Weighing a shoulder-shattering 62.8lbs, the experiment was intended as a cheap laugh, with Sollasvaara confessing, “Me and my friend built an acoustic guitar from concrete because we thought the idea was really funny.”

But the silly idea exceeded his expectations, and it even sounds pretty tasty. With and without distortion.

“I’m actually quite proud of how it turned out,” he reflects. “This guitar has a tonne of sustain!”

It's made from a single concrete cast, with its body, neck, and fretboard made of 100% concrete. Terrazzo, a blend of yellow crushed stone and concrete, was used for the body and neck, and ebony crushed stone and concrete for the fretboard.

The would-be sound hole was filled with polystyrene during the build process, and a rebar skeletal frame was also placed inside the cast to help the guitar maintain structural integrity, along with a Perspex frame removed after the concrete had set. That part of the project did not look fun.

Its tuners are made from nuts and bolts to keep up the brutalist aesthetic. Strings are locked in place between two nuts, and tuning is completed by turning bolts beneath the headstock.

The look is finished with a crushed stone and epoxy rosette, helping the guitar look more like a garden ornament than something you'd see on stage at Madison Square Garden. Still, it looks surprisingly pretty.

Fans of ultra-thin speed necks a la Jackson and Charvel look away now, as the neck measured a whopping 3.5 inches when it was first prized from its cast.

The guitar also weighed 79lbs before it was sanded down, meaning 12lbs – roughly the weight of three standard acoustic guitars – was ultimately shaved off while giving the build a more accessible neck profile.

The neck profile ended up a more grab-able 1.57 inches by the time it was finished.

A finger-sized hole has also been drilled into the bottom of the guitar's body to mount a piezo pickup. The frets, bridge, and nut are the only parts of the guitar made from more traditional materials.

“In order to grow into a great guitar builder, I need to experience things, even if they seem quite self-evident,” says Sollasvaara.

“Concrete is not the best material for acoustic guitar, but I have learned something from every build. I think we did a pretty good job solving the problems that a 100% concrete body, neck, and fretboard construction might cause.”

And for good reason. Faith’s brief has always been to provide a quality, all-solid wood, acoustic guitar at a reasonable price point, with good looks and great tone as a given.

But the acoustic world doesn’t stay still for long, and Faith’s stage-ready Eclipse models have just undergone a serious upgrade to make them better than ever. Faith’s Patrick James Eggle tells us more.

Can you explain more about the origins of the Faith Eclipse series?

“The Eclipse was one of the earliest models and it was originally conceived as a stage guitar. A workhorse instrument to look good under stage lighting while staying within the remit of Faith, which is not to embellish them too much with expensive inlays and what have you. [The idea was to] have a fundamentally well-built instrument using the right tonewoods and proper construction.”

Apart from the more obvious upgrades such as the forearm bevel, you’ve upgraded the pickups as well.

“Yes, we chose the Fishman Ink body preamp system, which marries an undersaddle piezo pickup with a magnetic body sensor under the bridge plate. We did some tests and I listened to a few.

“Don’t ask me to go too deep into the technical side because it’s generally not where I do my thing, but it seems to add an overall richness to the amplified tone.”

Have there been any structural changes under the hood?

“No, the bracing remains the same and all the fundamentals are [pretty much] unchanged. We’ve basically replaced the abalone rosette and the 12th-fret inlay with maple instead. So it looks kind of visually striking and goes with the forearm bevel.

“But it also means they’re entirely free from animal products; hopefully that will be a bonus and a good thing.”

Looking at the Neptune, it’s not a large-bodied instrument like a lot of 12-string guitars tend to be.

“I don’t think you necessarily need a whopping great big body. Obviously, the larger the body, the more bass you add and arguably a bit more volume. But a smaller body is a more mid-focused sound.

“I think the main thing I’ve found over the years with 12-strings is just getting the balance right with the neck, you know? Getting the string spacing right and all that so you can play the six courses of strings with relative comfort and ease – because it doesn’t come naturally to everyone.

“For years, the only 12-string acoustics I got my hands on, the necks always pulled off after a bit. I earned a lot of money replacing them! I just remember them being extremely cumbersome and uncomfortable to play. So the challenge is just to get the actual balance right so it physically works yet is quite ergonomic.”

Are there any changes to the bracing pattern for the 12-string?

“It hasn’t got extra reinforcement in it. I think that the X-bracing is slightly less scalloped, and I think the cross braces behind the bridge are larger as well. So you might describe that as extra reinforcement, but I don’t think there are any extra braces in there.”

Where acoustics are concerned, there are two schools of thought on how the neck should be attached to the body: dovetail or bolt-on. You’re an advocate of the latter for the Faiths aren’t you?

“Yes, bolt-on neck, glued-down fretboard. And that was part of the original redesign of Faith, probably 19 years ago now.

“A few years before that, I had worked doing guitar restoration and repairs and I’ve reset a lot of necks – acoustic guitars with dovetail necks. You steam them out and you find that a lot of the dovetail joint is full of wooden shims and glue and air. It looks tight and perfect from the outside, which is great…

“But, actually, when you steam it off, you realise that isn’t the full picture, and I don’t believe that can give you a good transmission of sound or is good for the instrument. If a dovetail joint is a good dovetail joint, then fantastic; I don’t have a problem with it at all.

“But I think it’s easier to get a tight, good join [with a bolt-on] than it is with a dovetail. I’m not saying dovetails are worse; I think they’re fantastic when they’re done properly.

“The other thing was that, at the time, we were using a satin-finished neck and a gloss body. So you can finish the neck and the body separately; you can fit them first to 90 per cent of their fit, and then spray them separately, polish the body, satin-finish the neck, and then do the final fitting right at the end, so you get a nice, clean join. I’ve never seen a reason to change it.”

What about the future for Faith? Is there anything on the horizon that you can share with us?

“Nothing I can tell you about at the moment. But you’ll be the first to know when there is!”

• You can find out more about the current range over at Faith Guitars.
• This article first appeared in Guitarist. Subscribe and save.

It’s nothing new for Gibson to release budget-friendly versions of its mainline models. Just look at the J-100 – a leaner, meaner take on the original Gibson super-jumbo that reveals the concept in action as far back as 1939.

Perhaps we’re more familiar with those ’50s and ’60s stalwarts the Les Paul and SG Junior, each one a perfect example of how to execute the strategy brilliantly.

But let’s also not forget the less than stellar ES-325, The Paul and SG-100 from the inauspicious ’70s, or the now-collectible Depression-era Recording King and Kalamazoo brands that the company produced. We could go on, but you get the picture.

To this celebrated and not-so-celebrated roster we can now add the J-45 and Hummingbird Specials, pocket-conscious versions of two of Gibson’s most lauded acoustic guitars. The range also includes the parlour sized L-00, but it’s the former pair we’re looking at today.

Following Gibson’s tried-and-trusted formula, while the timbers used may not be the absolute pick of the crop such as you’d find on Custom Shop models, they are all solid with both instruments’ backs and sides hewn from genuine mahogany, and with tops of Sitka spruce with scalloped spruce X-bracing.

A new wood to us, though, is utile, also known as sipo, which is used for the necks of both Hummingbird and J-45 Special. The Wood Database informs us utile is a West African timber that sits in the broader mahogany family and shares similar working characteristics.

Coming from the Latin word utilis, meaning useful, perhaps we’ll be seeing more of it on guitars as genuine mahogany becomes scarcer.

Fretboards remain 304.8mm (12-inch) radius Indian rosewood, not laurel or pau ferro as we’ve often seen elsewhere, and both bear 20 standard frets. The Hummingbird’s fingerboard, although usually bound in white plastic, is left bereft here, which is normal on the J-45, of course.

But while this guitar can boast real pearl dots, the Hummingbird is given celluloid parallelograms (they’re proper shell on mainline and Custom Shop instruments). This is a bit of a shame, since mother-of-pearl is a charming feature on full-fat Hummingbirds and other great Gibbos. But it would up the price considerably, so we appreciate Gibson’s motives here.

One thing of note is that both of these acoustics sport slightly shallower depth bodies than their regular counterparts. Gibson calls this ‘concert depth’. It’s not much, only 19mm give or take, down from 125mm (4.92 inches) to 106mm (4.2 inches), but sound-wise the company says it tightens up the bottom-end, making it leaner but without turning the sound thin or shrill.

Naturally, our J-45 follows its 1942 forebear’s round-shouldered look, while the Hummingbird has the model’s usual squared-off top bout, the first Gibson acoustic to do so when released in 1960.

Both guitars come with the traditional ‘belly up’ rosewood bridge and intonation compensated Tusq saddles, nickel-plated Grover Rotomatic tuners, Tusq nut, plus the excellent LR Baggs Element Bronze undersaddle pickup with soundhole volume control.

Finish-wise, our Gibsons come in traditional nitrocellulose lacquer, albeit ‘thin skin’ satin. And while there’s something very cool about this workaday approach on the J-45’s classic ‘tobacco sunburst’, the Hummingbird Special’s red-to-yellow shading really is rather garish.

It’s the only thing that looks a bit cheap here and is the very aspect that doesn’t need to be, since it would be so simple for Gibson to tone it down a shade or two to create a far classier impression.

The two guitars’ necks are attached to their bodies with a classic compound dovetail joint using hide glue. This means they can be easily removed should resetting or other work be required further down the line.

All in all, they are built well and look tidy inside and out. The fact that they’re cheaper by Gibson standards and come stage-ready means you needn’t worry too much about the odd ding or dent while the guitars are out there earning their keep.

Specs

Gibson J-45 Special

• PRICE: $1,999/£1,699 (inc gigbag)
• ORIGIN: USA
• TYPE: Round-shouldered steel-string flat-top acoustic with pickup
• TOP: Solid Sitka spruce
• BACK/SIDES: Solid mahogany
• MAX RIM DEPTH: 106mm
• MAX BODY WIDTH: 406mm
• NECK: Utile, SlimTaper profile
• SCALE LENGTH: 629mm (24.75”)
• TUNERS: Grover Rotomatic – nickel‑plated
• NUT/WIDTH: Graph Tech Tusq/ 43.82mm
• FINGERBOARD: Indian rosewood with pearl dot inlays
• FRETS: 20, medium
• BRIDGE/SPACING: Rosewood ‘belly-up’ style with compensated Tusq saddle/54mm
• ELECTRICS: LR Baggs Element Bronze with soundhole volume control
• WEIGHT (kg/lb): 2.077/4.58
• OPTIONS: None
• RANGE OPTIONS: The mahogany/spruce L-00 Special (£1,699) is the smaller-bodied parlour style model which also comes with the LR Baggs Element Bronze pickup
• LEFT-HANDERS: N/A
• FINISHES: Satin Vintage Sunburst (as reviewed), Satin Wine Red – ‘thin skin’ nitrocellulose
• CONTACT: Gibson

Gibson Hummingbird Special

PRICE: $2,199/£1,899 (inc gigbag)
ORIGIN: USA
TYPE: Square-shouldered steel-string flat-top acoustic with pickup
TOP: Solid Sitka spruce
BACK/SIDES: Solid mahogany
MAX RIM DEPTH: 106mm
MAX BODY WIDTH: 406mm
NECK: Utile, SlimTaper profile
SCALE LENGTH: 629mm (24.75”)
TUNERS: Grover Rotomatic – nickel‑plated
NUT/WIDTH: Graph Tech Tusq/ 43.82mm
FINGERBOARD: Indian rosewood with pearloid split parallelogram inlays
FRETS: 20, medium
BRIDGE/SPACING: Rosewood ‘belly-up’ style with compensated Tusq saddle/54mm
ELECTRICS: LR Baggs Element Bronze with soundhole volume and tone controls
WEIGHT (kg/lb): 2.22/4.89
OPTIONS: None
RANGE OPTIONS: See J-45 Special
LEFT-HANDERS: N/A
FINISHES: Satin Vintage Cherry Sunburst (as reviewed), Satin Wine Red – ‘thin skin’ nitrocellulose

Playability and sounds

While this writer was talking to a legendary UK luthier at the recent Birmingham Guitar Show, he agreed that Gibson acoustics have always had a wonderfully earthy and organic sound, and continue to have their own voice despite alterations to bracing pattern, build changes and other factors.

Today’s bracing is tighter and less splayed than on vintage examples, providing a more focused midrange compared with older instruments, which usually sound bassier. So will our slightly more svelte duo display even more of this lightness and possibly project a bit more? Before we find out, let’s see how they feel.

Other than the fact that they look totally different – one a dark sunburst acoustic with sloping shoulders and the other toting a square-topped body and blingier inlays – there’s a whole lot in common here.

The woods, hardware, electrics and so on are identical, but it’s in the necks and therefore each model’s playability where the differences lie.

While the J-45 Special’s neck is Gibson’s much-loved SlimTaper profile, measuring around 22mm in depth at the 1st fret and 24mm at the 10th, the Hummingbird has a round profile with 23mm and 25mm measurements respectively.

Nut widths are identical and at 43.82mm (1.725 inches) are wide enough for fingerstyle but not so stretchy as to put off the strummers, something at which both our guitars traditionally excel.

In the hand the J-45 feels the more modern of the two due to its gentle C-shaped carve, the Hummingbird’s having a little more meat on the shoulders. It feels very close to this writer’s own Custom Shop Hummingbird that’s used regularly on theatre shows, is a breeze to play and never becomes tiring.

The good news is that both instruments came out of their soft-shell guitar cases perfectly set up and welcoming to play.

And there’s no doubting that they have that signature Gibson tone. We’d actually been playing the guitars for a good 30 minutes before the penny dropped that they were a smidge shallower. It makes them a little more comfortable while seated and noticeably more so when playing standing up.

We’d agree, too, that there’s a tad more focus in the tones, especially that of the J-45, which perhaps provides the fingerpicking element that some say Gibson’s don’t have (tell James Taylor, John Renbourn, Jimmy Page and Bob Dylan that!).

They do sound a good deal different from each other, too. Who knows how much influence the square or round shoulders have on the tone? But the Hummingbird is definitely the fatter and warmer of the two, making it a brilliant strummer, while the J-45 is possibly the better all-rounder as it responds well to picking, too. As usual, these things are subjective so you’ll have to try them for yourself.

LR Baggs’ Element Bronze is a fine piece of kit: it’s simple to use, has a beautiful flat tone that sound engineers love, and is unlikely to cause feedback issues.

Verdict

Verdict: ★★★★

It can be tricky evaluating a brand’s more cost-conscious guitars when you’re used to playing the top-end stuff. For example, the Standard versions of our two models street at about a grand more; Custom Shop beauties come in at almost three times the price.

So let’s applaud Gibson for getting USA-made instruments down to this price point while making them fun to play and providing both with real musical personality. It’s after sitting and playing them for a while when each guitar’s character emerges and it all begins to make sense.

The Hummingbird’s fatter neck is in no way a hindrance. In fact, a chunkier profile can often prove less tiring than a skinny stick of a thing.

So we enjoyed its more old-school feel and even wondered if the bigger neck and that little bit more air in the body due to those broader shoulders might be providing the extra warmth it definitely exhibits. It’s certainly the more mellifluous toned, which makes it seem the better of the two straight out of the box.

However, our J-45 Special, while initially having the less impressive voice, comes into its own once you give it a chance to speak.

You’ll soon discover it enjoys fingerstyle and seems to project more like an OM or 000-size body. Its more slender neck profile, with a little less meat on the shoulders, also means guitar capos are easy to fit and fingerstyle jaunts further up the frets feel unencumbered.

We’ve said it before, but while all acoustic guitars will do all things, some will definitely do certain stuff that little bit better. So were we needing a great strummer, we’d pick up the Hummingbird, and for a good all-rounder, it would be the J-45.

Guitar World verdict: In the final analysis, while the odd corner has clearly been cut, remember these are true Gibsons with all the individuality that this brand exhibits, arguably over all others. They’ve definitely fulfilled their ‘good guitar on a budget’ remit and, although we weren’t so sure at first, it looks like we might just have made a couple of new best friends.

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• "With effortless playability, charming good looks, and a distinctive sound, it's no wonder the J-45 is still going strong over 80 years after it was first introduced": Gibson J-45 Standard review
• This article first appeared in Guitarist. Subscribe and save.

Fender's Acoustasonics have been around long enough for the message to be clear; these guitars are not the best of both worlds. But they are a unique meeting of them that blurs some lines between electric and acoustic guitar sounds. It won't ever replace your Tele or Taylor, but for some players it'll be a more practical performance solution and unlock different kinds of inspiration at home. But it was always for a price some of us were simply unwilling to pay.

Fender CEO Andy Mooney suggested a change was coming to me as far back as 2022 and my initial assumption was that this meant a more affordable Southeast Asian Acoustasonic would be a Squier. Now the Cor-Tek-produced Standard series has proved that is not the case, and of all the talking points that series is bringing with it, the $599 Acoustaonic Tele and Jazzmaster are the most notable.

The Standard treatment means Acoustasonics are suddenly $600 more affordable than the next (Player) model – that's a quantum leap in guitar market terms that opens it as an option to many more players. And with a price cut something has got to give – or more, some things.

I've played nearly every main iteration of the Fender Acoustasonics so far, from the Ensenada-made Players to the California-constructed American series and even the Finneas signature model; I've reviewed many of them. Now I'm here to find out what features the more affordable Standard Acoustasonic Telecaster jettisons compared to the Player and American models that came before, and what it can offer players in its own right.

Specs

• Launch price: $599/£549/€649
• Made: Indonesia
• Type: Six-string hybrid acoustic-electric guitar
• Body: Nytoh with solid Sitka spruce top
• Neck: Nyatoh, Modern Deep C
• Fingerboard: Rosewood, 12" radius
• Scale length: 25.5"/647mm
• Nut/width: Graph Tech TUSQ / 42.86mm
• Frets: 22, medium jubo
• Hardware: Standard standard cast with Hex buttons, roswood bridge, black plastic bridge pins,
• Electrics: Fender Acoustasonic Shawbucker humbucker; Fishman under-saddle transducer
• Controls: Master volume, Blend
• Weight of test model: 4.13lb/1.87kg
• Left-handed options: No
• Finishes: Black (as reviewed), Aged Natural, Honey Burst
• Cases: Not included
• Contact: Fender

Build quality

Build quality rating: ★★★★☆

The Black option of the Standard doesn't feature the inlaid printed top onto solid spruce with natural wood forearm contour, mahogany back and sides of previous models. Instead goes for a fully-finished nyatoh body with solid Sitka spruce top.

In black satin here it's ultra sleek to behold and some may well prefer the lack of contrast between top and sides. And they can have that with the Aged Natural and Honeyburst finishes.

The grain of the nyotoh is visible through the Black finish on the back and sides, plus around the soundhole, but not on the top. I prefer the grain and find the black satin top finish is a magnet for fingerprints and marks. Such is the price for black finishes of this kind, and I'd be extra careful as marks will show up readily from rubs onto other surfaces. Still, I'd expect a lot fewer problems of this nature with the Aged Natural and Honeyburst finish options.

The neck grain is less pronounced than my previous Acoustastonic experiences too – less tangiably… woody, but still smooth and very much inviting. Indeed, the feel here is appealing thanks to a build that doesn't feel like a poor relation. More a smoother one.

Acoustasonic necks are a huge part of the appeal; Cor-Tek has done us proud here with rolled edges (like the electric Standard Telecaster, Fender isn't saying they're rolled but they feel it) and a reassuringly dark rosewood fretboard (and bridge). Fender could have gone for laurel like the Standard electric guitar range here and most wouldn't have been surprised, so I'm pleased they went for the higher spec.

The action is lower than some Acoustastonics I've played but still higher than I know these guitars can comfortably go. I know this because I've tweaked the Micro-Tilt on Acoustasonics before – a wonderful kind of adjustable shim design from Fender's 'eventful' '70s years that allows you to fine-tune the neck angle. Such is my vocal enthusiasm for this feature that my colleagues now premptively roll their eyes whenever I merely say the words 'micro' and 'tilt near them'.

With no adjustable bridge here it's doubly important. While there's a little leeway in personal preferences with truss rod changes for neck relief, the Micro-Tilt allows you the only other means of action change beyond a different string gauge (this comes with gauge 11 Fender acoustic strings.. You just need to loosen the two bolts either side of the Micro-Tilt hole before any hex key adjustments are made.

Another returning feature from the Player models is the 9-volt battery – accessed via a small door on the rear of the body. The American Series USB charging has its drawbacks - you can't change a rechargeable internal battery over in a gig situation. But moreover here, with no digital processing on these Standard models you should be getting far more than the approximate battery life of 20 hours the Player series could deliver.

How much? Fender isn't shouting about it, but we asked for confirmation from the company and it's up to 65 hours – now that's a significant jump, illustrating just how power-hungry the DSP of the Player series 'Acoustic Engine' is.

Playability

Playability rating: ★★★★★

As I've already alluded, this guitar provides a really positive playing experience. And I think that's very much the case whether you're coming from electric or acoustic guitar to this model. The satin urethane finish of the nyatoh neck is silkier than the grainier Player and American models' mahogany. It's different, not inferior. Both feel great combined with the 12" radius rosewood fingerboard.

The low-medium action out of the box will suit many but I can't resist tweaking the Micro-Tilt adjustment to get things a little lower, and compensating with the neck relief after. It pays off again. The novelty of being able to do faster runs comfortably with low action on an 'acoustic' guitar will never get old for me, and I wager I won't be alone. And Fender may call the neck carve 'Modern Deep C' but it's not that much deeper than the C-shape Fender necks I've grown up with.

Sounds

Sounds rating: ★★★★☆

I can't imagine anyone is buying this guitar to only play it unplugged but after trying a few Player and American Acoustasonic Telecasters in recent years, I think this test Standard model has the least projection of any I've spent time with. Now that's not to say any are approaching even parlour guitar output, and the Jazzmasters still seem to be the best for a fuller unplugged sound, but this test guitar sounds slightly quieter than the Player Tele examples I've strummed. But, some context is required.

While my experience suggests the mahogany back, sides and neck contribute to a better unplugged sound, the Stringed Instrument Resonance System (SIRS) that acts as a soundhole here certainly plays its part in delivering an unplugged response that's still beyond what I'd expect from the dimensions of this guitar's body. And it's still fine for playing around the house… or wherever else you want to play. Like the Acoustasonics before, this is still a great candidate for a great couch guitar, except this time it doesn't cost north of $1,000.

Plugged in is where the Standard's proposition can really be tested. Fender has stripped back the price – but has it gone too far here paring back the sounds too? My quest to answer that hones in on a central conundrum I've found with all Acoustastonic guitars to date – do they sound better through a PA/acoustic amp or an electric guitar amp? Well, perhaps there's another way.

We'll get to that. Rest assured the Standard Acoustastonic really pairs things down on the options side – but the result isn't the sparcity I was fearing. It's… focused?

Back in 2019, the American Series guitars felt like a lot to digest at once when we were all still getting our heads around the concept Fender was introducing to us. This is simple – you blend between an undersaddle piezo acoustic pickup, and a Shawbucker humbucking magnetic pickup. The only other control is a volume – something that's kind of redundant beyond me only ever turning it up or off. You won't be controlling gain on the humbucker here.

Two pickups with one control. And it would be great if Fender had brought in a detent to tell the player when the Blend control is at halfway, as it is, you're really judging by ear when some indicator would be useful as a landmark on a pot that should get a lot of action when you play plugged in. In addition, a separate tone control is probably asking too much, given the lack of one on any previous iteration.

With none of Fishman's 'imaging' that allows for the piezo signal to be mixed with IRs of specific acoustic shapes being mc'd, a lot is resting on the undersaddle piezo here. It does a fine job – with more low end than you might imagine. While there's no substitute for the physically of a 'real' acoustic guitar – and I A/B with my own Fishman Sonitone-equipped Sigma Dreadnought and Baggs M1A-equipped Auden Julia – the Standard Acoustasonic sounds beyond its comparatively diminutive dimensions.

As I try it through a Line 6 Powercab and the Headrush FRFR Go cab I recently reviewed before I have to send it back, there's no place for this piezo to hide – no reverb, completely flat EQ. I'm pleased by the lack of compression quack and low-end definition. But there's also no denying it sounds significantly better this way than through a guitar amp, while the Shawbucker here suffers from a low end drop as I turn the Blend knob.

Its chime and bass thump returns when I plug into my Supro Delta King 12 tube amp, while the piezo loses its hi-fi depth. None of this will be surprising at all to players; it has always been this way for acoustic and electric guitar pickups. But as I blend between the extremes to explore the spaces in between, the ideal amp is less certain. Throw in some light tremolo for movement on chords and it's a pretty unusual sound in my usual world – darker than my soundhole-pickup acoustic in a pleasing way, going further towards the Shawbucker for leads and arpeggios. But should players have to choose between the best way to amp this guitar?

Not necessarily. I think Acoustastonics really lend themselves to use with pedals more than traditional acoustic guitars – they're certainly more feedback-resistant. A clean boost can help with the low-end drop-off for the Acoustasonic Shawbucker through the PA, but a multi-model amp modeller like a Helix, Quad Cortex or Tonex could allow an instant switch between an acoustic premp or tube amp emulation to suit your needs at the time.

Anyone expecting the Shawbucker to be able to switch up to heavier rock rhythm tones will be disappointed, but that's always been the case with the magnetic pickups on these guitars. Instead, think of it as a hybrid acoustic voice. And I think the blend for singer-songwriters and supplementary guitarists in cover bands is a really useful asset.

Verdict

A musician friend of mine recently told me how they'd noticed more and more players using Acoustasonics for local pub gigs. I expect that to increase now. And I'm not so sure it'll only be younger players adopting this more affordable version either; the appeal of hybrid playability and sound isn't tied to a generation. And while there will be expectations and open-mindedness in the mix here when it comes to who this guitar may appeal to, it really doesn't sound like a Telecaster.

I think looking at the Acoustasonic Standard as an acoustic guitar with more scope is the best way to avoid disappointment. And I will say the same for all the Acoustasonic models released so far. What it doesn't offer in onboard EQ control or twang it can deliver with upper fret access and the means to blend in a magnetic pickup to complement as required. It's a middle way rather than a Swiss Army guitar. Something that may inspire players to explore effects more than they may have considered before with a more traditional acoustic guitar.

The form factor here is a bigger deal than perhaps I've given it credit for in the past – for players who need an acoustic sound in a band, and may rarely touch the blend control, the Acoustasonic Standard still provides a very accessible form factor that could be great for singers who don't want the phyiscal depth of a more traditional parlor, concert or dreadnought shape. The Fender Highway Series has already approached this in its own way, but is higher in price, and doesn't offer the same enhanced upper fret access.

The real cause for celebration here is the price. This and the Jazzmaster are by far the most significant Fender Standard models as they represent a $600 lower threshold for players compared to the next option; the Player Acoustasonic.

This feels and plays very much like the Acoustasonics I've enjoyed in the past and I'm glad more people will be able to sample that. There's nothing directly comparable in terms of quality and combination in this price range either.

So let's take stock. You lose the Fender nice soft case of the Player, the Fishman 'imaging' and overdriven voices and arguably, based on my experience, a better uplugged performance. But honestly, I don't feel that adds up to $600. Perhaps it will for others. But I would choose these Standard models over the Player options if I were new to the Acoustasonics. And they make fantastic house guitars too.

Guitar World verdict: This may be the most affordable Fender's Acoustasonics will get, and the good news is it holds its own. Streamlined, yes, but the core hybrid experience and appeal is very much here.

Also try

• “For all those who’ve lambasted the Standard Series before playing one – you’re going to have to eat your words”: Fender Standard Telecaster review

The new feature was first rolled out with Taylor’s Gold Label Collection earlier this year and continues to build on the brand’s knack for neck innovations, following the likes of the “NT” neck, introduced back in 1999.

“With this new neck design, you're getting the most precisely built, easily adjustable guitar we've ever made,” says Taylor Guitars CEO and master builder Andy Powers, the designer behind the neck.

“I love the idea that a player can simply pick up and play one of these guitars and be inspired by the way it sounds and feels. And, while you're at it, you happen to benefit from an accurate and adaptable neck that can be easily adjusted to suit your particular playing preferences.”

So how does the Action Control Neck differ from your standard guitar neck? The new design features a long tenon that extends deeper into the body’s neck block – and, with no shims, enables players to adjust their action on the fly with a quarter-inch nut driver through the soundhole.

The result, according to Taylor Guitars, is “more low-end resonance and a deeper, warmer, more open sound in the Gold Label guitars.”

The firm goes on to note that this “breakthrough” will be especially useful for touring musicians, whose instruments travel through different climates, environments, and conditions.

For studio musicians in particular, it enables a “quick transition between playing styles – from fingerstyle to slide,” without the need for a whole separate guitar or a setup. And for the recreational guitarist, it allows for hassle-free adjustments over time, counteracting environmental or seasonal changes that “impact the neck angle geometry.”

The Action Control Neck is currently exclusive to Taylor’s Gold Label Collection – which the brand released this January in time for NAMM – and features a ’30s- and ’40s-inspired Super Auditorium design that builds on the company’s Grand Auditorium body shape.

Judging from this recent PR blast, however, we wonder how long it will be before the design trickles down to other Taylor releases…