magazine acoustic design

PRACTICE PLAN TIPS (PLAY ALL STYLES)

Top 10 Essential
Guitar Maintenance

Tips
The Workshop:

Catherwood
Guitars

Martin Dreadnought
Special: Chris
Martin Iv
The Malaysia

Musicians Players
For World

Famous Artists

May 2016
RM9.00

www.acousticmagazine.com

1

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2

360e NOW

Step Forward.
Music Is Waiting.

360e (2016)

300 Series
SHAPE: Dreadnought
WOODS: Tropical Mahogany, Tasmanian
Blackwood
SPECIALTY: 12-String

The slightly broader waist of Taylor’s
Dreadnought shape helps bring out the lower
midrange frequencies. On a 12-string, it
generates a thick, husky midrange power that

complements the crispness and shimmer
of the octave strings. The wood pairing of
blackwood and mahogany on the 360e

yields a smooth response that promises
to deliver a bold and balanced sound
with a thick shimmer across the
middle register. A shaded
edgeburst adds a tasteful
vintage look to the rich
grained mahogany top.
Additional appointments
include a black
pickguard, Italian
acrylic small
diamond
fretboard
inlays, black
binding with
crisp white
top trim,
a 3-ring
rosette,
and satin
finish.

3

EDITOR’S WELCOME

This year is turning out to be a
fantastic one for acoustic guitar
releases, and we’re struggling
to find the space for the flood
of exciting new kit from the big
players. The major release hitting
our shores this month is ‘Taylor
(360e)’ and ‘Epiphone DR-100’ offer the acoustic
guitar at a far more affordable price. We’re one of
the first magazines to get our hands on the the
workshop with Dr John Catherwood guitars articles
and top 10 essential guitar maintenance tips, so
turn to page 30 until page 37 to pursue your
verdict. We’re share new brands, new guitar and
instrument details prices in the magazine pages.
Beyond the world of kit, we’re also got some great
guitar players to give some tips practice plan play
all styles this issue and covering everything about
acoustic guitars. Other major highlights of this issue
include a major group find famous malaysians
guitar players, some really useful focusing about
experience and an interview artists. Stay tuned and
see you all in our next issue!

susila

SUSILA D/O KATHA KARGUNDAN
Editor.

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4

Publishing
Susila Publisher
lechumy Group Editor- in-Chief

EDITORIAL
Ajithkumar Associate editor
Cheryl bates Technical Reviewer
Andrew Yew Technical Reviewer

GRAPHIC
Reon Su Photojournalist
Joanne Tang Senior Graphic designer
Arya Graphic Designer
Harish Graphic Designer

Velocity Media Photo Studio
Photography

SECTION EDITORS AND
EDITORIAL CONTRIBUTORS
Geoff Harris, Paul Grogan, Ben Brain, Ali Jennings,
Alex Chambers, David Clark, Amy Davies, Carly
Drew, Jeremy Ford, Chris George,Matt Golowcznski,
Mark Hamblin, Steve Hanlon, Richard Hood, Matthew
Richards, Ben Secret, Rod Lawton

PHOTOGRAPHIC CONTRIBUTORS
Future Network Photo Studio

ADVERTISING
Cheryn Tan Advertising Sales Manager
Daniel Gan Marketing & Event Manager
Dennis Chou Taiwan Representative
Tel:+016-6675628
Fax: +016-66756280

ADMINISTRATION
Choong Yean Bin Office Administrator
Prashothankaru Office Administrator

Acoustic Guitar Malaysia is published
every month by:

VELOCITY MEDIA SND BHD (574377K)
E03-3 East Wing, Subang Square
Jalan SS15/4G, 47500 Subang Jaya
Selangor Darul Ehsan, Malaysia.
Tel:+603-56211911
Fax:+603-56211910
Web:www.my-dcm.com

5

CONTENTS

30
34

19

SECTION 1: COVER STORY

9 History of Acoustic Guitar
10 Flat-Top Guitars
12 Acoustic Electronic Guitars

SECTION 2: THE MALAYSIA
MUSICIANS PLAYERS FOR
WORLD FAMOUS ARTISTS

18 Raz Azraai
19 Roger Wang

SECTION 3:TECHNICAL TIPS

22 Practice Plan
34 Top 10 Essential Guitar Maintenance Tips

6

Send press releases to:[email protected]
Send letters to: [email protected]

Visit us online at: www.acousticmagazine.com
To enquire about a subscription or back issues,

contact [email protected] or
call 03-5631-7157

18

12
32

SECTION 4: ARTICLES

10 30 The Workshop: Catherwood guitars
32 Martin Dreadnought special: Chris Martin iv

SECTION 5: ADVERTISING

2 Yamaha (FG730S)
3 Taylor (360e)
14 Gibson
16 Reverend
39 Epiphone (DR-100)
40 Fender (CD-60 CE)

7

8

Most acoustic guitars come in 6 string or 12
string variations, but there are many custom made
guitars that include more strings and or other
features. Acoustic guitars are popular with blues,
jazz, rock, folk and country styles, though it has
a smaller volume compared to that of an electric
guitar.

Instruments similar to the acoustic guitar have
been noted throughout history dating back to over
5000 years ago. These different instruments
eventually lead to the evolution of the six string
classical guitar which originated in Spain.

Acoustic guitars are made using different types
and combinations of wood. There are several
types of acoustic guitars including classical and
flamenco guitars that are strung with nylon strings.
Animal gut was used before nylon strings.

9

10

FLAT-TOP GUITARS
(Acoustic Guitar)

Flat-top guitars usually refer
to another type of acoustic

guitar and perhaps one of the
more common types. Flat-top
acoustic guitars are similar to
classical guitars, but differ in
body structure and often size for
reinforcement to the tension of
the steel strings used instead of
nylon like the classical guitar.
With steel stings and more string
tension its very common to use
a pick to pluck the strings. A
pickguard is found under the

sound hole with the rosette.
The bodies of flat top guitars
are usually made wider and

deeper, giving it different
sound characteristics than

a classical guitar.

11

ACOUSTIC
ELECTRIC GUITAR

Archtop guitars were produced by Gibson Guitars
founder, Orville Gibson around the 1890’s. Inspired
by the violins design, archtop guitars use flatwound,
steel strings. Archtop guitar bodies are curved
rather than flat and have f-holes like a violin.
These guitars became very popular with country
and jazz guitarists and are also common in swing
and big band. Luthiers began making archtops with
humbucker pickups, making the guitar electric as

well as able to be played acoustically.

12

13

14

The sounds of tomorrow for today’s music...

It’s easy to talk about the future of sound and We were going to tell you about unbelievable
electronics. But Gibson decided to do moe tonalities and the vastness of its harmonic range.
than just talk. They decided to act! Gibson got We also thought about describing the frequency
together with “ Mr.Gibson, Les Paul. Together, range that makes other guitars and basses
they designed a guitar that would bring the sounds take a back seat. But we soon discovered that
of the future back to now. The new Gibson Les no words could do justice to these magnificent
Paul Recording Guitar and Triumph Bass with low instruments. So we returned to the only medium
impedence pickups. These guitars offer you more that can accurately convey the electronic genius
sounds than ever before possible on any one of the Les Paul Recording Guitar and Triumph
instrument. Adaptable sounds that lend themselves Bass... SOUND... the actual sounds of the future
to any one of the many contemporary music forms recorded for the musician who is tires of sounding
of today, these sounds are so futuristic, no one like today, Spin this record right now and savor
has come up with adjectives to describe them. tomorrow.

15

16

17

Raz Azraai has played with several
sought-after session musicians such
as Rafael Moreira (guitarist for Pink
and Christina Aguilera) and Andreas
Brobjer (drummer for Lady Gaga).

Currently based in Los Angeles,
guitarist and songwriter Raz Azraai
started performing at the tender age
of 10 and even went on to graduate
from the prestigious Musicians Institute
LA. His time in LA has also found him
playing at some major venues in the
city like the House of Blues in Sunset
Boulevard, Viper Room, Whisky A Go
Go as well as El Corazon in Seattle.

Raz has performed with session
guitarist Rafael Moreira (who plays for
P!nk, Christina Aguilera, The Voice
and American Idol), Swiss Disney
artist Manou Oeschger, and Andreas
Brobjer, the drummer for Lady Gaga.
He has also played alongside LA-
based band Art of Shock, who were
featured at the 2013 Warped Tour.

Raz is currently working on his solo
album, which will feature vocals by
Cage9 frontman Evan Rodaniche.

The Malaysian Musicians Player
For World Famous Artists.

18

Roger Wang, acclaimed fingerstyle
guitarist whose original composition was
featured in Jacky Cheung’s jazz album
‘Private Corner’ and even played the
guitar for a recording of that particular
song in the album. Besides being an
award winning composer, Sabahborn
Roger Wong better known by his stage
name Roger Wang is also a prolific
acoustic guitarist who is known for his
fingerstyle technique. In 2010, one of
Cantopop’s ‘Four Heavenly Kings’ Jacky
Cheung recorded one of Wang’s songs
‘Love Scale’ in Cantonese to be featured
in his jazz album, ‘Private Corner’.
Wang was also asked to play guitar
on the track, alongside Simon Lau on
bass, Lewis Pragasam on drums and
Steve Thornton on percussion. A sound
engineer by training, Wang is also a
producer who runs his recording studio
in Sabah. And as if working full time
in the studio isn’t enough, Wang also
composes songs, performs at gigs and
concerts, teaches music technology,
organises music festivals and concerts,
and produces and arranges his own
albums.

19

We made it.

This is the SG2000: a guitar
with the brilliance, style, quality
and workmanship that place it
indisputably among the world’s
finest instruments and Yamaha
made it. The SG2000 is causing
no little interest among those
musicians whose opinions we
value; and it is true to say that
where praise is hard won, it is
doubly appreciated.
This greatest ever Yamaha
guitar leads a field of solid,
semi acoustic, electric acoustic
and bass guitars, all beautifully
made, outstandingly reliable, and
combining the most advanced
technology with traditional Yamaha
quality.

20

21

Play: All Styles

Your Ultimate

Practice Plan...

A lot of players gravitate towards the things they can already do, wasting
time running around in circles whilst the things they can’t do get further
and further away. John Wheatcroft puts you back on track...

ABILITY RATING Attempting to organise yourself. amount of the groundwork has can disengage the brain and keep
You may be the most willing and already been put securely into place. going for longer periods. If you’re
From 1 to 5 eager guitar scholar, but more often Much better, I’m sure you’ll agree. working on a cognitive skill such as
Will improve your: you’ll not be sure of the best place memorising a new chord sequence
to start, potentially trying to do One massive schoolboy error or analysing fingering choices, you
Technical ability too much too soon and therefore is to practise by the clock, thinking need focus and total concentration.
Theory knowledge forced to make a hasty retreat that simply the amount of hours Intense concentration requires a lot
Musical discipline back to familiar musical pastures. you put in definers how good of energy. If you’re able to focus
The best approach is to see your you are going to be. The reality is fully for more than 20 minutes
The POPULAR VIEW is that to learning and musical development that it’s more down to the level without falter, then you’re doing
become a better player you should as a progressive pathway, with of intensity-far better to do 30 exceptionally well!
devote practice time to mastering each new piece of information a minutes a day of focused work
things you can’t do at present. logical, conceptual and technical that’s designed to strenghten BREAKING IT DOWN
Whilst this is fine in priciple, in development of the things you weak spots and turn the heat up
reality it’s not much help when already know. This allows you to progressively, then to have the It is a practical and physical
grow at a steady rate and means guitar in your hands for five hours impossibility to work on every
that each time you attempt to learn while watching TV or looking single element of your playing
something ‘new’ you don’t have to out of the window. This type of every time you sit down to
start from scratch, as a huge activity is only really useful for play (unless you are a complete
drilling motor skills, where you beginner). To make any real
progress you need to look at the
individual component parts in
isolation and in detail. Always plan
what you’re going to do before
you even pick up the guitar and
be realistic about what you can
achieve in the timeframe provided.

Between 15-20 minutes on
any one topic before taking a
break is ideal. I generally pick
four contrasting things every
day. Choose a timeframe that is
realistic and sustainable in the
long-term, so that when you put
the guitar down you feel a sense of
achievement, not disappointment.
Shorter and more intense sessions
are more effective than the
conservatoire type methodology
of practising for eight hours a day
non-stop. That’s just going to give
you RSI.

Create a log, mapping out
short, mid and long-term goals and
review monthly. This way, if there’s
anything missing (I’ii put money on
it being sight- reading!), you should
be able to spot it and put your

“Music’s like dinner you do it a bite at a time” Phil Hilborne

22

Play: All Styles

FURTHER STUDY much information as is humanly missed in your musical education works best when information is
possible; it’s about how you’re up to this point. You need to isolate re-entered periodically in small
If you fancy a bit of light going to use the skills creatively as whatever that might be and find amounts, so once again the
bedtime reading then try a musician. I’ll often tell students ways of reinforcing that element of method of ‘little and often’ is best.
the following excellent and that if we both had to make a list of your playing and establish what the Anyone who’s crammed for an
inspirational books: Effortless things we couldn’t do on the problem is, then find some exercises exam to find that two weeks later
Mastery by Kenny Werner guitar, then mine would definitely to strengthen that area. This might they can’t remember a single thing
(Alfred 1996), The Inner Game be longer, just because my mean learning some other musical knows this is true!
Of Music by Barry Green experience means I’m more aware examples in order to build that
(Doubleday 1986), and finally of the infinite possibilities music area up. You may have to go back WHEATCROFT’S WAY
Musical Excellence, a collection has to offer. It’s a constant work a few stages. It can be a humbling
of essays outlining strategies in progress, so surrender to this experience, but you almost always My philosophy regarding practice
and techniques to enhance marvellous piece of information have to go back before you can go breaks down into three main areas.
performance edited by Aaron and enjoy the journey... on to the next stage. The first deals with tackling new
Williamson (Oxford Press 2004). material, usually something I’ll have
APPROACHING A The part of the brain that is to perform at some stage in the
practice pathway back on track NEW PIECE associated with long-term memory near future. The second deals with
Obviously this time does not general musicianship; ear training,
When leaning a new piece, often transcribing, reading, harmony,
include getting the guitar out of you need to break it down into theory and so on. In terms of pure
the case, finding a lead, plugging in small chunks. There’s always instrumental development, it’s
the amp and setting up the music a reason why you can’t play all about attaining/maintaining
stand, or turning the CD player on. something and it’s usually not control of expression, clarity of
because you’re incapable; it’s tone, fluency, dynamic articulation,
Also, one hour playing with because previous steps have been flexibility, stamina, consistency,
other people is worth ten in the missed. If you want to achieve a aesthetic beauty etc. I tend more
practice room. It helps if the people specific goal there are a number of to think about musicality these
you’re playing with are just that stages before you can get there. If days, rectifying technical problems
little bit better/more experienced I want to play like Steve Vai, that’s as and when they occur. But this
than you too. This also helps you too much of a jump in one go- you is only possible now because of
to focus and structure your studies need to go through many other the work put into just technique
in the best way possible, as you’ll steps (often very small ones) to get earlier on. Most work that is purely
quickly figure out what works and to his level. So when you’re trying technical tends to be in the form
what doesn’t. Don’t put this off to play a Steve Vai piece and you of ‘fire-fighting’ - putting out any
until you’re ‘good’. This is how can’t play a specific lick, maybe it’s potentially disastrous ‘flare-ups’ as
you’ll actually get to be good! because something else has been and when they occur. GT

I’ll leave you to ponder on this
thought. It isn’t about amassing as

A word on how this lesson works. The first five studies all take one - the last of which is always a musical example. Studies 6 to 8 can be
specific technique or concept, selected in order to provide a balanced viewed as practical methods to drill specific disciplines in the minimum
range of skills. We then work through five variations or developments of time- with the maximum results. Ready? Then let’s go!
in smooth progressive steps. Economy picking is the obvious choice
EXAMPLE 1 PICKING here, but remember to always accent the notes that land on the beat,
even when that happens to be an upstroke.
Two of the main technical challenges when picking all notes are what
to do when crossing strings, and also when playing multiple notes on a
single string. Our study here starts with the most basic combination of
these elements and expands into something much more complex, but

23

Play: All Styles
EXAMPLE 1 PICKING...CONTINUED

EXAMPLE 2 PHRASING WITH CHORD TONES

Our second study is more conceptual in nature, allowing you associated with learning lots of scales. All of our examples rolate to
to develop the essential skill of chord-tone and melodic figure the five CAGED dominant 7th chords, and culminate in a tasty blues
association. This skill allows players such as Eric Clapton ton clearly turnaround idea that spells the chords out perfectly, logically and with
outline harmonic changes whilst soloing, without the clutter great ease.

24

Play: All Styles

EXAMPLE 2 PHRASING WITH CHORD TONES...

25

Play: All Styles

EXAMPLE 3 HYBRID PICKING nifty rock-style arpeggios in here too. It’s possible to get these up to
frightening speed with not too much effort, so give them a go. From a
It’s country madness next with a five-point plan to develop your hybrid country perspective, hybrid-picking and scales containing open strings
picking technique. By now you’ll have figured out how things work; go hand in hand, so I’ve integrated elements of both as we progress.
take a basic technique and expand gradually as your accuracy, stamina
and consistency responds to the workload. I’ve squeezed a couple of

26

Play: All Styles

EXAMPLE 4 SLURS AND HAMMER-ONS thumb and first finger. We’re simplifying the tapping element for our
final musical example but increasing the complexity both harmonically
Hammer-ons and tapping are the order of the day for study number and in freboard movement. The crucial factor here is damping unused
4. Initially it’s fretting-hand only, picking the first note on each new strings. Use the palm of your fretting hand to mute all idle bass strings.
string. Before long though we’re incorporation two picking-hand
taps. Try using your ‘m’ and ‘a’ fingers so you keep the pick between

27

Play: All Styles

EXAMPLE 5 THUMBPICK simple, isolate any movement or idea, expand upon this in stages, and
end with a musical application. This time we finish with a 12-bar study
Just for the record, I’m absolutely hopeless with a thumb-pick, but with combined root-5th bass and melody on the treble strings. This
I resisted the temptation to just cheat and hybrid-pick and worked example might seem unusual, but consider that players as differents as
through these examples progressively for 15 minutes. By the end I Freddie King, Johnny Marr and Brent Mason all use a thumbpick.
was able to record the tracks on the GT CD, so this method obviously
works. Our musical examples follow the now familiar pattern: start

28

Play: All Styles

EXAMPLE 6 THE IMPROVISATION ACID TEST

This example will test how well you have absorbed a musical device, you lose the rhythm, mess up or come back in the wrong place or key
concept or technique. We know the story: you’ve put the hours in then more work is needed. If all goes well then put your new skills to
and are feeling rather smug; you go out to gig or jam with friends and the test by creating as many variations as you can, mixing techniques,
none of the stuff you’ve worked on comes out! Well, Help is at hand. fretboard positions etc. Next time you play for real you should have
The trick is to make your practice and performance line up. Your task a far better command of vocabulary you know that you can actually
is simply to play on your own, establish a groove, feel, key and style, get to it on demend. On the GTCD I played all the examples and just
decide upon how long the soloing gap is going to be and go for it. If improvised a couple of things to show you how things may turn out.

29

Tell us a little bit about The Workshop:
your background as Catherwood Guitars
a luthier of stringed
instruments? What
made you want to build
instruments, and how
long have you now been
building?

I love guitars, to play and

listen to, and I have always

loved working with wood it

was a natural progression.

I started out doing set-ups

and repairs on my friends’

instruments as a teenager,

and kept that as a hobby - Combining original designs with an ethical outlook, woods indigenous to Ireland, and some
all the time I was working bog oak that’s thousands of years old, Dr John Catherwood is building guitars, mandolas,
as an academic, but I only bouzoukis, and mandolins from his Northern Ireland workshop.
took the plunge and built

my first instrument in 1999. How did you come to Tell us a little about your Any plans to build other
It was a dulcimer, because make your very first body sizes your parlour body shapes?
I wanted one, and I thought guitar? and your cutaways aren’t
only having three strings the conventional shape/ Apart from the travel guitar

and half the frets it would After restoring and repairing style you’d expect. What (which we might try to run
be easier to make… many old guitars and other influenced these styles? a Kickstarter campaign
instruments (which is a for I would like to try four
As a maker, where do great way to learn how they I think that instruments prototypes with different
you draw your inspiration fail, and how to make them should have soft, organic bridge and bracing and
from? better) I wanted to build one curves, and I am lucky timber choices) there is
for myself. It was through that my partner Lisa is an a plan for a nylon strung
I like the aesthetics of Celtic him that I met Stephen artist and designer so she guitar with a new bracing
art, and the interpretation McClenaghan and Gerald refines my engineering pattern, (a sort of cutaway
of it through art nouveau O’Neill who joined with me sketches to give them flamenca negra/jazz hybrid)
and art deco. I also have to form Catherwood Guitars the aesthetic lines that and possibly a harp guitar
an ethical commitment to in 2011. makes them so distinctive. in the next year.
the environment I was a A curved, drop shoulder

university lecturer, teaching What is your preferred cutaway was a natural You use native Irish
and doing research in style of guitar? choice. The large upper timbers for your
environmental ethics for bout on my parlours was instruments. I’m guessing

many years and of course I like wide necks (our aimed at increasing the this is down to an
I admire the work of great standard size is 44mm nut air capacity of the body, ethical and ecological
luthiers; Lacote, Panormo, to 56mm string spread at to improve middle and perspective, as well as
Macaferri, and Loar, as the saddle, but I like 46 to bass response without the beautiful aesthetics of
well as modern makers, 59) because I have wide increasing the body length using such wood?
especially the emerging fingers. Mostly I play my or thickness. If I could get
tradition of simply decorated own steel string flat-tops, ethically sourced shell I I felt that luthiers cannot
Celtic/Irish guitars. but I have a couple of would use it a little more, morally justify carrying
archtop and Selmer style but it also helps ensure on using rainforest timber
jazz guitars as well, and my we have no issues about and that there must be
first ever guitar. Of course exporting our guitars to sustainable alternatives so
one day I will have to build the USA no Lacey Act I experimented with locally
some of those too. problems. grown woods.

30

Do you have a preference for a In keeping with the repurposed theme What’s the most enjoyable part of
particular tonewood, or wood of the bodies we used part of an old constructing a stringed instrument?
combination, for your instruments? church pew and a bookshelf (both
mahogany) for the necks. We thought For me it is a toss-up between
I enjoy trying new things, and I think it would be an interesting marriage. carving necks and bending sides: both
each has its own charm for my own They sing well together. Feckin have are precise jobs requiring time, skill
taste it is hard to beat a European agreed to give me barrels to make and judgment, with the potential to go
spruce top with a yew or walnut body, another 10, so it will be a limited badly wrong, but they are satisfying
but I built an ash concert size guitar edition of 12 – a case of whiskey! to do and to complete well. Also, that
with a red cedar top that was so rich moment when you put strings on for
it was hard to let it go. For the parlour You use an Oak that’s thousands the first time and hear the instrument
size the oak body was superb, but of years old… tell us a little about is very fulfilling.
I also built a cherry one that was this? For example, the wood which
very light and clearly voiced with featured on the headstock of the Do you offer the customer a fitted
really clean harmonics. I have had parlour model. pickup – which kind/style of pickup
great results with sycamore and I am do you recommend for the best
experimenting with elm now. Peat bogs often contain ancient trees amplified acoustic sound?
preserved by the acid environment
Do you ever use any woods that and semi fossilised. I use a piece of We will fit on demand, and of course
aren’t native to Ireland? bog oak that has been carbon dated customers often have their own
to about 4000 BC as an inlay on the preference. I like the blended or
I already mentioned the tops, but I top of all my guitars. It is halfway to microphonic systems – (LR Baggs
have also made a couple of guitars being coal, so it is incredibly hard and Anthem, or the Fishman Infinity Blend,
recently as a special commission from it blunts tools instantly, but it polishes K&K Trinity) but I recently fitted a
the Feckin Irish Whiskey company up beautifully, and I am on the look Fishman Aura and thought it was
using American white oak for the out for larger pieces that I could use quite impressive.
bodies. That wood had spent some as fretboards. To me it is the most
years as a barrel, maturing American native Irish wood I could imagine, it 31
bourbon and then Irish whiskey. The predates the arrival of human beings
workshop smelled great for months, on the island – I find that humbling
every time you cut or sanded it. and inspiring.

Martin Dreadnought special:
Chris Martin IV

- Where better to start this special feature than with the man whose family name is on the headstock of every
Martin guitar, Chris Martin IV, who tells Steve Harvey about the evolution and success of the Dreadnought,
and his true feelings on the plethora of Dreadnought copies out there

Christian Frederick Martin IV, the Having immersed himself in “When you look at the Martin
great-great-great grandson of the research material, Mr Martin became Dreadnought, in hindsight it was
original Christian Frederick Martin, is more familiar with the Dreadnought revolutionary, but they didn’t sit down
Martin Guitar’s chairman and CEO. battleship (pictured above). “What in a room and say, ‘Let’s design a
Despite his family being an intrinsic struck me was that not only is revolutionary guitar’. They designed
part of the production of popular music 2016 the 100th anniversary of the a big-bodied guitar which we believe
for the last century, and arguably Dreadnought guitar, but it’s also the might have originally been made
responsible for the creation of some 110th anniversary of the ship,” he said. for Hawaiian music, but which very
musical genres, he remains eminently “So I began to do a lot of research on quickly became the go-to guitar for
approachable and easy to talk to. the ship and learned that it was such country, then bluegrass, then folk.
a masterpiece of naval engineering, That’s pretty impressive to me.”
As you can understand, Chris Martin to the point where it was so state of
loves talking about his company’s the art in so many ways, it made all We ask Mr Martin about the
history, particularly the early models previous battleships, including the Dreadnought’s formative years. “There
of Martin guitars. After expressing entire British fleet, obsolete. I began is a resurgent interest in small bodied
his pride at the Dreadnought’s to see more of a connection between Martins, and that warms our hearts,
100th birthday, he reflected on not only the word, but the item behind but when you look at anything we
a conversation he had with his the word.” made prior to the Dreadnought, they
grandfather. “He told me that his got bigger but they got bigger in
father, my great grandfather, loved You’d be forgiven for thinking that proportion. The goal was to not have
history and that’s why that particular that Martin Dreadnought was designed the bass, or the mid range, or the
guitar is called the Dreadnought. As with the sole purpose of becoming treble outshine any of the other two.
my grandfather is no longer alive, I the world’s favourite guitar. Mr Martin Then, along comes the Dreadnought,
felt the need to learn more about the reminds us that there was no such which was originally promoted by us
ship itself.” masterplan. as a bass guitar.

32

“The original Dreadnoughts were We ask Mr Martin to expand on the “We’re also going to continue to work
only sold through the Ditson chain, issues surrounding patents. “Maybe with folks like Fishman to refine the
which meant that they hadn’t got the the Dreadnought design is something acoustic electric sound. When you
broad distribution that other Martin we should have tried to register, but plug a Martin in, what I hope you
guitars had enjoyed. During the Great we didn’t. It’s too late now but not hear is that same guitar, just louder.
Depression, Ditson went bust and that many years ago, at the Patent Larry [Fishman, President of Fishman
of all the models we were making & Trademark Office in New York, Electronics] and his team are sharp
for them the Dreadnought was the we were able to get protection for and every time we do something we
only one we kept, but we knew that the rectangular headstock and for get closer to that goal.
we had to develop the guitar. Very the D-18, D-28 and D-45 model
shortly after that we offered a 14-fret designation, many, many years after The size of the Dreadnought’s body
to the body model, and then a solid we had used them. I thought to myself means that, for some, the guitar can
headstock and scalloped bracing. at the time that there must have be somewhat cumbersome. When
That’s when it became the modern been someone working in that office commenting on this, Mr Martin used
Martin Dreadnought.” that, when they saw the paperwork, the opportunity for a little sales pitch.
thought, ‘Yes, Martin deserves to “Yes, they are a little awkward,
“The herringbone trim and scalloped have these registered’. As a result, a they’re not couch guitars. That’s why,
bracing both went away during the guitar builder cannot use D-18, D-28 if you’re really into acoustic guitars,
war. We’re not exactly sure why or D-45. Protecting the rectangular it’s probably a good idea to have
the scalloped bracing went. It might headstock is more of a challenge a Dreadnought and a 00 or 000
have had something to do with some because, in the interim, other people depending on your mood.”
warranty issues, we’re not sure, but were using it. Where that’s the case
we know the herringbone went away we’ve made contact and told them In summary, Mr Martin is clear about
because it was sourced in Germany. we don’t want to stop you, we don’t his company’s position in the market
It wasn’t until the 1960s that people want a royalty, we just want you to and the positive effect his competitors
began to say that those scalloped- acknowledge in your literature that you have. “We’ve got some formidable
braced Martin Dreadnoughts had ‘a are using a headstock shape that is competition but we’re number one,
sound’. So, it was a combination of rightfully owned by C.F. Martin & Co. and I want to stay number one.
the solid head, the 14-fret neck and Some have complied and some have Competition has been good for the
the scalloped bracing, all of which thumbed their noses at us. Whatever industry. Guitars today are better
happened in a kind of sequence, that the case, this industry is too small to because everyone had to make
solidified the Dreadnought’s place be suing people all the time. It’s not a better guitar and if you weren’t
as a guitar that had potential to be part of the DNA of guitar builders in inclined to make a better guitar, you’d
relevant far into the future.” general, they are more into sharing better get out of the way.”
than hiding things.”

33

Top 10 Essential Guitar
Maintenance Tips

Our top 10 tips to keep
your guitar in great shape
Alun Lower gives you his
top tips to make sure your
instrument stays in tip-top

condition.

It’s no secret that guitars 1Understanding To avoid any humidity 2Fingerboard
are fickle instruments, Humidity. problems you need to Conditioning.
susceptible to the elements create a stable environment

and often prone to Unless you’re for your guitar. Room Unlike the body of your

damage under clumsy or rocking one of those temperature can be difficult guitar, the fingerboard

inexperienced hands. What newfangled carbon fibre to regulate, so one of the is almost always left

happens when it’s gig time wonders, chances are your best tips is actually to make unfinished and unsealed.

and you realise to your guitar is constructed from sure you put your guitar That’s why it’s often the

horror that ‘old faithful’ a selection of different back in its case in between first area to show the

suddenly has the action tonewoods. Wood is of sessions. Yes, it looks effects of dryness, and the

of a lapsteel or is buzzing course highly reactive to better sat on a stand or main way of avoiding this is

from each end of the moisture, which makes the hanging on a wall, but the by periodically conditioning

neck? We guitarists invest humidity of the environment simple fact is that a case’s the fingerboard with a guitar

hundreds if not thousands surrounding your guitar atmosphere is much easier specific product. The better

in our gear, and it can be vitally important. Compared to manage especially when conditioners will not only

frightening to find out just to their electrified cousins, you implement a product hydrate the wood but also

how many of us wait until acoustic guitars are such as the Moiss humidity lift dirt and grime whilst

something goes wrong to especially vulnerable thanks controller. polishing the frets. Ensure

start taking proper care of to their relatively thin, that any cleaner you buy is

our instruments. Just as delicate construction. While This clever little gizmo designed for dark, natural

every car needs care and this does bring all that sits in the soundhole when wood fingerboards and

attention to keep the motor lovely tone and projection the guitar is safely tucked does not include silicone

running, guitars benefit that makes acoustics what away in its case, and will in its list of ingredients.

hugely from a bit of TLC they are, it also opens up constantly monitor the Also be careful not to over

every now and then. Having our beloved instruments to relative humidity inside condition remember, you’re

a good local tech or luthier a wide array of problems. the case. Alternatively, adding moisture to the mix,

is naturally a great solution, buy yourself a digital and too much can cause

but many problems can be Dryness on the other hygrometer, a humidifier adverse effects.

solved or prevented entirely hand is potentially much and a de-humidifier, and

without resorting to more more serious. When wood carefully monitor your When to consult a pro: If

costly measures. We’ve suffers from a severe lack guitar’s environment, your fingerboard displays

gathered together our top of moisture it shrinks, which adjusting as and when cracks or loose/sharp frets.

tips for 10 different areas can result in cracks in the required.

of guitar maintenance that guitar’s top or a warped

every guitarist should know neck. A tell-tale sign of When to consult a pro: If

master them all, and your dryness is the edges of your guitar shows signs of

guitar will thank you with your frets suddenly feeling significant humidity-related

year after year of faithful sharp as they come away damage, such as cracks

service. from the wood. and separated joints.

34

3Cleaning Your 4Restring Like A Pro. 5Checking Neck 6Diagnosing
Guitar. Restringing a Alignment. Problems With The
guitar is something that Nut.
Cleaning your guitar a surprising amount of Neck relief is another topic
is one of the most basic players can get wrong and that can easily intimidate Stop sniggering, you.
and most important can result in a number of inexperienced and veteran Yes, this section of our
parts of effective guitar issues, from string breakage guitarists alike. There’s no guide is inevitably going
maintenance. Whether to poor intonation and shame in consulting your to be filled with endless
you’re dealing with a tuning stability. How you local expert when it comes euphemisms, but nut
budget, all laminate start off depends on what to matters of the neck, and maintenance is an important
strummer or a luthier kind of guitar you’re dealing more often than not they’ll area of guitar repair and
crafted masterpiece, every with. be happy to give you a something we could all
guitar deserves a regular few pointers or give you a do with understanding. In
clean and will feel better For most steel strung second opinion. most instances, we would
to play as a result. Sweat, guitars you’ll either have actually recommend seeing
dead skin and the natural a series of slots to keep There are two main a pro in the first instance
oils in your skin can all the strings secure or a set symptoms that indicate a unless you’re extremely
have an effect on your of bridge pins. These can problem with neck relief. comfortable with filing down
guitar’s appearance and be pulled out with a small, A common misconception the wood on your guitar,
playability, from leaving tong like tool if they’re is that you should adjust or simply aren’t bothered
marks in the finish to particularly well wedged in, the truss rod to set your if it goes extremely wrong.
corroding the frets and but generally they should guitar’s action, but in reality If when fretting the strings
leaving nasty deposits on come out fairly easily by the neck should always move more than a few
the fingerboard. hand. Different guitarists be slightly bowed. If your thousandths of an inch,
inevitably have different neck relief is fine but you’re then the nut could possibly
For a more thorough ways of doing this, but the still having problems with benefit from a bit of filing to
clean, there are countless simplest way in our opinion the string height, then you lower the action.
specialised guitar cleaning is to bring the string back should consider making
products available out there. and with the very end of the adjustments to the nut or When to consult a pro:
Just be sure to read the string trapped at the back of saddle. Honestly, unless you
label and make sure the the bridge. already have a set of nut
cleaner is suitable for your When to consult a pro: If files to hand and a lot of
particular guitar and finish. When to consult a pro: you’re struggling to get an confidence, this is an area
If your tuning is constantly accurate measurement or where 99% of the time
When to consult a pro: going out even after days you experience patches of we would suggest taking
If you’ve used the wrong of playing in the strings, or buzzing in different areas of your guitar to a pro. But
kind of cleaner and caused if you suffer from frequent the neck despite a normal that doesn’t mean you
damage to your guitar’s breakages. neck relief. can’t diagnose the problem
finish. yourself!

35

7Making Adjustments To The Bridge. 8Tackling The Truss Rod.
More often than not, the bridge is a much better If you’ve checked your neck relief and decided
place to go than the nut when it comes to adjusting your that there’s a problem with the neck itself, it’s time to get

guitar’s action. By comparison the saddle is a much easier familiar with the truss rod. This can be one of the most

piece of your guitar to modify and also much easier to intimidating areas of guitar maintenance to get accustomed

replace should the worst happen. That’s because with to, and with good cause – messing this up can result in

most modern guitars, the saddle is easily removed when some serious damage to your beloved instrument. Making

re-stringing the guitar. If you’ve got an older style guitar sure you have the right tool for the job is essential here

where the bridge is set into the body however, you’re best if you don’t have the original adjustment tool that came

off taking a trip down to your local tech or luthier. with your guitar, check with your manufacturer and get a

replacement. Using the wrong tool could result in damage

Before making any adjustments to the saddle, it’s very to the truss rod itself, which you want to avoid at all costs.

important to check the nut height and neck relief first. Access to the truss rod can usually be found either at the

These pickups rely on a perfect setup at the saddle, and top of the headstock beneath a truss rod cover,

any inaccurate or sloppy adjustments could affect the

string balance and quality of your plugged-in tone. Depending on the results of your neck relief assessment,

you’ll want to either tighten the truss rod (clockwise turns)

To lower your saddle, you’ll need to measure out your to create more of a bow, or loosen it to straighten the

adjustments with a pencil, under the slots for the high and neck (anti-clockwise). Before you make a single turn you

low E strings. Use a ruler to join these two points and you should also make sure you’re tuned to pitch, as this is

should end up with a perfect level to file the saddle down the reference point for all neck adjustments. The amount

to. The easiest way to then adjust the saddle is to set to turn inevitably varies from guitar to guitar,Regardless

down some 80 grit sandpaper and sand down to the line of your intended adjustment, we would normally advise

you drew earlier. Once you’re there, finish it off with some loosening the neck first as a precaution. You should also

120 grit paper to get a better, flatter finish. Raising the play the guitar in between turns to allow the neck to bed

saddle is thankfully much easier, and only involves placing in, before taking another measurement as outlined in Tip

a hard, flat piece of material under your saddle. Often 5. It’s a slow process, but patience is a virtue.

they’re made from bone, plastic, or even wood, so take

your pick and enjoy! When to consult a pro: If you encounter any resistance

or creaking in your adjustments, stop immediately and

When to consult a pro: If you’ve got an expensive and/or take your guitar to you nearest tech. You should also

delicate vintage guitar, or have an undersaddle pickup to stop adjusting if after two full turns you haven’t fixed the

consider. problem – it just isn’t worth the risk.

36

9Storing Your Guitar. 10Tools For The Job
Whether you’re a gigging musician or a stay at home hobbyist, finding While many of these tips
the right case for your acoustic is of vital importance. Not only does and tricks require little to no
a good case protect your guitar from harm, it also helps to manage investment, there are inevitably a
humidity by providing a more stable environment and protecting from sudden number of items that are helpful for
changes in temperature. Your guitar might look great sat on a stand, but it a guitarist to keep in a safe place.
only takes one disaster to ruin it all. Many years ago I myself came home from Below we’ve listed some essential
a weekend away during the winter months to find that my boiler had broken (and some not so esential) items that
down. To my horror I had left one of my guitars sat on a stand and, naturally, can be used to keep your guitar in
the neck was warped. I’ve heard of others who have had pets, children and the best possible condition.
falling ornaments cause damage to their own guitars also. It’s just not worth the
risk! • Metal ruler – with detailed inch
measurements
But before all you hobbyists out there rush out to buy a set of guitar shaped
nuclear fallout bunkers, take a moment to consider what you really need from • Truss rod adjustment tools
your guitar case. Gig bags in particular have come a long, long way in recent • Tuner
years and nowadays you can find some reasonably priced examples from the • Guitar cleaner
likes of Mono that give exceptional levels of protection along with perks such • Fretboard conditioner
as waterproofing. Not to mention the fact that they’re also considerably lighter, • Fret-cleaning solution (e.g.
ideal for gigs where, heaven forbid, you have to walk to the venue.
Chrome Frets)
Some cases also come with hygrometers built in (ideal for monitoring humidity • Digital Hygrometer
on the go). They’re fairly rare, but Ortega produce a particularly nice selection. • Humidifier
Typically, though, your average hardcase is in truth not all that protective, • De-humidifier
especially if you’re thinking about trusting your guitar to the hands of airline • Planet Waves Humidipak (plus
baggage handlers.
Regardless of which case you end up going for, it’s always a good idea refills)
to invest in a digital hygrometer at the very least, or the stunningly helpful • Cleaning cloths
Humidipak by Planet Waves. • String winder/cutter (Planet

When to consult a pro: If you find that there’s just too much to choose from, or Waves do a good one)
need a second opinion about whether your current case is cutting the mustard. • High quality gig bag/hard case
• Nut files (optional)
• Sandpaper – 80 and 120 grit
• Magnifying glass (to help with

minute measurements)

37

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38

DR-100

PRODUCT DESCRIPTION.
Color: Ebony.
Epiphone DR-100 Acoustic Guitar.
Epiphone’s Most Popular and Affordable Acoustic.
The DR-100 has long been Epiphone’s best selling
acoustic guitar with the look, sound, and build quality that
first time players and professionals expect to find when
they pick up an Epiphone. The dreadnought is considered
the classic go-to shape for bluegrass, folk, rock, country,
and everything in-between. The dreadnought
sound is commanding when required,
but its balanced sound means that at
any volume, you can be heard and
hear yourself well, too.

Specifications of Epiphone
DR-100 Acoustic Guitar (Ebony)
What’s in the box:- 1 x Epiphone
DR-100 Acoustic Guitar(Ebony)
General Features:
SKU:- EP376MEAA5U7DQANMY-11897096
Model:- Epiphone DR-100 Acoustic Guitar
Warranty Period:- No Warranty

RM 1,799.00

39

FENDER CD-60CE ELECTRO
ACOUSTIC GUITAR

The entry to Fender’s electro-acoustic guitar offerings, the CD-60CE provides high
price features in a low-cost instrument, from one of the world’s most renowned guitar
manufacturers. Constructed from the dreadnought blueprint, the Fender CD 60CE Electro
Acoustic Guitar is built to perform. Quite possibly the most popular of all acoustic guitar
shapes, the dimensions of the dreadnought provide cavernous sound in a comfortable package,
which offers balance and power with robust bass and clear mids. Equally responsive to harsh
play as it is to gentle, the shape is particularly popular with flatpickers and strummers. With its
cutaway design, this model also offers unrestricted access to the upper register.

Ask your local dealer or visit us online at
40 http://www.dawsons.co.uk/fender-cd-60ce-electro-acoustic-guitar