WIN!

A CUSTOM SHOP AVALON L2-20C JUMBO ACOUSTIC WORTH OVER 3,000

ISSUE 109 SEPTEMBER 2015

www.acousticmagazine.com The UKs only dedicated acoustic monthly. Only 4.95

A day at Yellow Arch Studios with...

RICHARD
HAWLEY ON THE MAKING
OF NEW ALBUM
HOLLOW MEADOWS

MILK
CARTON KIDS
BEAUTY AND HARMONY
IN A TIMELESS SOUND

CHRISTOPHER
PAUL STELLING
THE JOYS AND HARDSHIPS
OF A TRAVELLING MUSICIAN

C.F. MARTIN & CO.

THE HOLY GRAIL DREADNOUGHT:
A 1942 HERRINGBONE D-28
ISSUE 109 SEPTEMBER 2015 UK 4.95
09

9 771745 446040 >

109 !20 PAGES OF GEAR REVIEWS: CRAFTER, CAPEK MANDOLINS, ALVAREZ, TANGLEWOOD, AVALON, LAG, TC POLYTUNE CLIP
002.indd 2 17/08/2015 15:48
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www.acousticmagazine.com
Issue 109 September 2015
Editor: Guy Little
Email: guy@blazepublishing.co.uk
Sub-editor: Nick Robbins
Advertising sales manager: Florence Thornton-Weeks
Email: florencetw@blazepublishing.co.uk
Tel: 01926 339808
Design: Chris Sweeney, Jessica Riley
Studio gear photography: Richard Ecclestone
Cover photography: Richard Ecclestone
Columnists: Raymond Burley, Clive Carroll, Mike Dawes,
Richard Gilewitz, Chris Gibbons, Gordon Giltrap, Daniel Ho,
Leon Hunt, Thomas Leeb, Tony McManus, Matt Stevens,
Chris Woods.
Writers: Paul Brett, Stephen Bennett, Graham
Hazelwood, Andy Hughes, Leon Hunt, Guy Little, Alun
Lower, Joel McIver, Julian Piper, Teri Saccone, Nick
Robbins, Paul Strange, Richard Thomas, Sam Wise.
Published by: Blaze Publishing Ltd. Lawrence House,
Morrell Street, Leamington Spa, Warwickshire, CV32 5SZ
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Magazine Marketing, West Drayton, Middlesex, UB7 7QE
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Publisher: Wes Stanton
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SUBSCRIPTION DETAILS ON PAGE 40
AT WORD LITTLE
here was a mild sense of panic as
I drove up the M6 to Sheffield to
write this months cover feature. Id
never met Richard Hawley before,
though hes been someone Ive listened to for
some time now. Roger Bucknalls wonderful
emails keep me entertained and Richard is a
regular fixture on those.
Anyway, Hawleys stoic rock star cool
was something that worried me a little
interviews Id watched with him (thanks,
BBC 6 Music) had him as a sort of daunting
poker-faced figure that only really came to life
when either behind closed doors, not faced
with a journalist asking, Oh, why do you love
Sheffield? or, crucially, when he had a guitar
in his hands and, mind you, does he come to
life with a guitar in his hands!
Theres nothing wrong with that stoic rock
star cool I mean, its part of him but what
would he be like in whats become his second is so profound its hard to put into words),
home, Yellow Arch Studios? Worry need Martin Simpson, the Waterson family, and
not have ensued because within minutes of course, Sheffield.
of meeting him hes offering me chips (the His new album Hollow Meadows
proper kind, from a paper wrapper, bought embodies his love for all of the
from the chippy on the corner of the street) aforementioned in a set of songs that
and calling everyone our kid. Hes also one demonstrate his sophisticated songwriting
of the biggest guitar nerds Ive met and with a knack for melodies only he can
Ive met my fair share. Kindly declining the produce. The album follows 2012s
chips, we start to survey the huge array of acclaimed Standing At The Skys Edge and
guitars hes brought with him for the day yet despite critical recognition, Hawley has
theres a PRS Martin Simpson gifted him, never jumped aboard a bandwagon, nor
Atkins, Fyldes, Martins, Gibsons, Collings, an given any thought to whats riding high
Ibanez, and a Melodija Menges among them. in the charts. Thats not Hawley. He is a
His Martin and Gibson came from Replay guitarists guitar player who has gone about
Acoustics (more about them and a 1942 building up a consistently excellent body of
herringbone Martin D-28 on pg. 80) and the work and Hollow Meadows is testament
Martin (a 1936 00-17) hardly left Hawleys to that. Read his interview over on pg. 34
side. Thats the guitar hes photographed and revel in not just his guitar collection but
with on the cover and it was, without doubt, also his masterful songwriting craft.
one of the best acoustics Ive ever played
until I met that 42 bone D-28, of course, but
theyre different beasts.
Hawleys love for everything music
extends beyond the instruments he plays Guy Little
to his late father (whose influence on him Editor
 John coinMan
01
Presents... oKlAhoMA CIty
son of the tucson
14 TRACKS OF THE MONTHS BEST NEW ACOUSTIC MUSIC desert, John Coinman
is a singer-songwriter,
JOHN COINMAN film-music-composer
THE HONEYFIRE (The Postman) and music aid of actor/director
MO KENNEY Kevin Costner. he has an actors skill for inhabiting
BOBBY LONG a character into a song. Americanrootsuk.com
BENJI KIRKPATRICK wrote about his new album Already Are: great
WILL JOSEPH COOK albums should consist of both entertaining and
GILMORE & ROBERTS
DAVID BECKER thought provoking songs to suit all moods and

R U R A needs, something that only a few achieve. this

one certainly does! the haunting oklahoma City,
FRANC CINELLI included on this months Acoustic Presents Cd, is
STEWART MAC & THE RISING
SKERRYVORE one of the 11 John Coinman originals from that,
already critically acclaimed, new album Already Are.
ANDREW CRESSWELL DAVIS
CHRIS BANNISTER n www.cavalier-musicmanagement.com
n www.facebook.com/john.coinman

BenJi wiLL JosePh

05 KirKPartricK 06 cooK
Voodoo heArse
ChIld (slIght will Joseph Cook
retUrn) possesses a vocal
Presents...

Benji is a member of big maturity and song

band folk trailblazers
Bellowhead, power folk trio Faustus and has spent
three years in seth lakemans band, but has always
performed as a solo artist. he has made three solo
albums, with the 2008 navigator label release,
Boomerang, showcasing his unique songwriting
talents. Benji deftly picks his way up and down the
frets of the bouzouki, guitar, mandolin and banjo and
with his latest release Hendrix Songs he tackles the
songs of his hero Jimi hendrix in a unique style.
n www.benjikirkpatrick.com
n www.facebook.com/benjikirkpatrick
n @benji_kp
crafting ability far
beyond his years. In early 2015, his track Message
took the internet by storm, gaining will the coveted
number one spot on hype Machine as well as a
number two spot on spotifys global Viral Chart. wills
influences span much further geographically and
historically. his eclectic influences include everyone
from darwin deez to nick Cave. will Joseph Cook is
quickly emerging as a talent to be aware of in the
ever burgeoning alternative British scene.
n www.willjosephcook.co.uk
n www.facebook.com/willjosephcookmusic
n @willjosephcook

franc cineLLi stewart Mac

10 AlCheMy
Franc Cinelli is an Italian
songwriter based in
london, england. his
new album The Marvel
Age shows an artist
continuing a determined path, not afraid to take
chances and experiment. At its core, this is a folk
11 anD the rising
rAdIo
stewart Mac is a
singer, songwriter and
guitarist from north
london. specialising
in radio friendly, heartfelt rock songs, he has
released two previous full length albums,

14 tracKs
record, but its use of rhythms, the twists and turns achieved success in Asia and has a string of
in the arrangements with their vibrant colours and live performances under his belt alongside
haunting undertones, creates something much more. such greats as Bon Jovi, who he opened for at

oF the Months the extensive 12-month tour, which gave birth to this
new album, saw him playing shows across UK, europe
twickenham stadium. he has just released a
brand new ep Radio which was written and

Best new
and north America. The Marvel Age is out on songCircle recorded with long time collaborator and live
records on september 18. guitarist dean roberts.
n www.franccinelli.com n www.stewart-mac.com

ACoUstIC MUsIC n www.facebook.com/franccinelli

n @franccinelli
n www.facebook.com/stewartmacmusic
n @stewartmacmusic
 acoustic presents...

The Honeyfire Mo Kenney Bobby Long

02 Road Signs
03 Telephones
04 Treat Me Like A
The Honeyfire are a In My Dreams Stranger
sister two-piece hailing is a stunningly If Bobby Long has
from Bristol UK playing accomplished follow- learned one thing for
harmony-based, up to Mo Kenneys sure in the course of his
guitar-driven indie-folk. much-celebrated music career, its that
Originally formed in 2010 by Sally and Natalie Joiner self-titled debut, showcasing an artist who all things take time. Hes reflecting philosophically
they were briefly joined by Anja Quinn on drums and has grown in every facet of her craft as a on the making his forthcoming third album Ode
together recorded their self-titled debut album with singer-songwriter, guitarist and performer.Mo To Thinking. I have been cultivating these songs
Jim Barr (Portishead and Get The Blessing) at his has performed at major festivals in Iceland, live for the last year, seeing how they stand up,
Bristol studio. The album was released December England, Australia, and across Canada with changing them, dropping them, bringing them back
2014 to critical acclaim. Having recently returned to Ron Sexsmith and key collaborator and album so when I came into the studio with them, I was
two piece set-up, they are now writing new material producer, Joel Plaskett. ready. Now that I can see the finish line ahead, Im
which they plan to record and tour in 2016. See The getting excited that people will be able to hear what
Honeyfire play at the London Acoustic Show 2015. Ive worked hard on and what I envisioned.
n www.thehoneyfire.com n www.mokenney.com n www.bobbylong.info
n www.facebook.com/thehoneyfire n www.facebook.com/mokenneymusic n www.facebook.com/musicbobbylong
n @thehoneyfire n @mo_kenney n @bobbylongnews

Gilmore & David Becker RURA

07 Roberts
Cecilia
Twice-nominated at
the BBC Folk Awards,
contemporary folk/
acoustic duo Gilmore
& Roberts combine award-winning songwriting
with astounding lap-tapping guitar, fiery fiddle and
their trademark harmonies, creating a powerful
wall of sound. Their fourth album, Conflict Tourism,
is released on September 18 and follows a year
of touring in mainland Europe, Canada and their
native Britain, and packs a considered punch
from start to finish. Gilmore & Roberts tour the
Netherlands, Germany & the UK this autumn.
n www.gilmoreroberts.co.uk
n www.facebook.com/gilmoreandroberts
n @gilmoreroberts
08 The Lonely
Road
For more than 25 years,
Grammy nominated
guitarist, composer and
producer David Becker
has continued to define himself as one of the most
unique voices in jazz and contemporary music. He has
led the David Becker Tribune to a worldwide audience,
performing in more than 20 countries. On The Lonely
Road, Becker leaves behind his usual trio for a solo
outing, and arranged and produced a gorgeous
album full of poetry by building an orchestra of
guitars. Inspired by his world travels, this record
takes the listener on a global musical journey.
n www.davidbeckertribune.com
n www.facebook.com/pages/David-Becker-
Tribune/153354107577
09 Between The
Pines
Renowned for their
powerhouse mix of
highland pipes, fiddle,
guitar, bodhran, whistle,
flute, and voice, RURA has fast become one of the
most talked-about bands of their generation. They
create hard-hitting, muscular, yet intricately arranged
instrumentals to match singer-songwriter Adam
Holmes haunting songcraft a mix that has seen
them rise to headline status at festivals in the UK and
Europe. Their first album Break It Up was accompanied
by award wins and nominations, and now the follow-up
Despite the Dark is meeting unrelentingly high praise.
n www.rura.co.uk
n www.facebook.com/ruramusic
n @ruraband

Skerryvore Andrew Chris

12 Happy To Be
Home
Originally a Tiree
four-piece, Skerryvore
has evolved into a
seven-strong band of
musicians. Skerryvore has successfully married the
traditional instrumentation of accordion, fiddle, pipes
and whistles with solid bass, drums and keyboards,
overlain with exacting guitar and meaningful lyrics to
give their unique sound. Their 2014 album Chasing
The Sun was described as their most complete and
mature album to date that albums a cracker! (Phil
Brown, BBC Radio Lancashire) and their latest Decade
release coincided with a huge celebration in May 2015.
n www.skerryvore.com
n www.facebook.com/skerryfans
n @skerryvore
13 Creswell
Davis
Marching
Down The Road
Andrew Cresswell
Davis is a multi-
instrumentalist who
has worked alongside Sir George Martin, John Lennon,
Tears For Fears, Bill Nelson, Julian Cope, Goldfrapp,
Spiritualised, Steve Tilston, and Flook and Moondog
among others. His new acoustic album Desire lines,
co-produced by Pete Brandt, is his first solo venture
since 1990s Clevedon Pier. Andys songs have been for the 10 songs featured on the album. The track
covered by artists as Rod Stewart, Tracy Allman,
Manhattan Transfer and Yazz. Andy is currently
performing in the UK with Clare Lindley (violin) and
Brian Mullan (cello) as Davis Lindley Mullan DLM.
n www.andrewcresswelldavis.com
n www.facebook.com/dlm
14 Bannister
Prentice Boy
Singer-songwriter Chris
Bannister has released
four albums of original
material and performed
live in both Europe and North America. His new album
The Unicorn And Other Stories is his first collection
of traditional songs. Chris has taken the lyrics from
Helen Creightons 1930s bookSongs And Ballads From
Nova Scotia and written new music and arrangements
featured here isPrentice Boy, a timelesstale of
youthful, romanticidealism and also features Chris
Nole on piano and Debbie Jones on backing vocals.
n www.chrisbannistermusic.com
n www.facebook.com/ChrisBannisterSingerSongwriter
n @chrisbannistera

september 2015 acoustic magazine 7

Contents
issue 109 September 2015
18

Richard 22

Hawley

26

30

Interviews
Christopher Paul Stelling......................................................18

Craig Ogden...................................................................................22

Milk Carton Kids..........................................................................26

Chico and the Gypsies................................................................30

8 acoustic magazine september 2015

80 48 84

Features
The Workshop....................84

New Music.............................90

Play It Again.......................80

Techniques
Gear Clive Carroll....................96

Crafter DGXE-ROSE.....................................................................42 Leon Hunt.............................98

Capek Mandolin............................................................................48 Daniel Ho.......................... 100

TC Electronic PolyTune Clip...................................................53 Thomas Leeb..................... 102

Alvarez AG75CE.............................................................................54 Tony McManus.................. 104

Tanglewood Sundance Delta Historic................................60 Chris Woods..................... 106

Avalon L1-390CB.............................................................................66 Matt Stevens.................... 108

LAG tramontane T100ASCE.........................................................74 Paul Brett........................ 110

september 2015 acoustic magazine 9


news DesK
ralph Mctell will be joined by albert lee and Daniel
ho on september 12 2015 at Yamaha Music london
for a free in-store Q&a and performance
Yamaha Music London is set to host an
intimate evening performance and Q&a
session with Ralph McTell featuring special
guests albert Lee and Daniel Ho following
the conclusion of the first day of the London
acoustic Show on Saturday September 12 2015.
Yamaha Music London Presents... Saturday
night Unplugged will take place at their
three-storey showroom on Londons Wardour
Street with doors for the event opening at
10 aCoUSTIC MaGazInE sEPtEMBER 2013
for the latest news visit www.acousticmagazine.com
yamaHa music
london pResents...
satuRday nigHt
unplugged
Yamahas agship london store to host free evening performance and Q&a
with ralph Mctell featuring special guests albert lee and Daniel ho
6.30pm for a 7.30pm show start. The event is Jimmy Page, Bob Xavier and Chris Farlowe &
free with a limited capacity, but you can book The Thunderbirds before forming Heads, Hands
you place via their website. & Feet with Chas Hodges. The US beckoned as
one of the great storytellers, Ralph McTell, he became more involved in country music,
is now celebrating almost 50 years on the road. touring with The Crickets, The Everly Brothers,
Known for his virtuoso guitar style, he is a Buddy Emmons and Joe Cocker. albert Lees
prolific and gifted songwriter. With a style that brand new solo album Highwayman is an
invites you into a unique world, he weaves a intimate collection of classic acoustic covers.
narrative with lyrics and guitar lines that are Joining Ralph and albert will be joined
both significant and poignant. Ralph made his by Daniel Ho. Daniels simple philosophy of
debut in 1968 with the album Eight Frames A presenting music with sincerity and artistry
Second and in 1974 the release of Streets Of encompasses six consecutive Grammy awards,
London earned him an Ivor novello award. In number-one albums on national airplay charts,
1993, nanci Griffith recorded From Clare to and top-ten albums on the Billboard charts. over
Here on her Grammy winning album and in the course of his career, Ho has contributed
2002 he was presented with the prestigious to more than 30 records, ranging from pop to
lifetime achievement award at the BBC Radio smooth jazz and contemporary Hawaiian music.
2 Folk awards. This close-up and intimate Ralph and albert appear at Yamaha Music
performance by one of folk music most notable London Presents... Saturday night Unplugged
patrons will provide an opportunity to ask in advance of autumn tour dates with newly
questions and hear his stories firsthand, plus released live DVDs of their 70th anniversary
albert will join Ralph as special guest for an concerts, available for purchase at the event.
exclusive acoustic performance. Yamaha Music London will provide guests with
Described as the ultimate virtuoso by free food and drink at the George pub, opposite
Eric Clapton, legendary British countryrock their showroom in the heart of Soho, from 5pm
guitarist albert Lee was heavily involved in onwards. For more information, and to book
the emerging rock n roll scene of Londons your place, visit YMLs website.
1960s and cut his teeth gigging with the likes of www.yamahamusiclondon.com
 Acoustic news

Win a Faith guitar as Dave Rawlings Gary Lutton set for

part of Rotosounds
Summer Blockbuster
British string manufacturer Rotosound
has announced it will give away
thousands of prizes worth over 10,000
with promotional string packs as part of
its Summer Blockbuster competition.
Top prizes include a Faith FV Natural
Series Venus electro-acoustic. Winners
could also nab Rotosounds critically
acclaimed Retro Vintage Fuzz pedals,
T-shirts, guitar straps, string cleaners and
guitar chord finder/tuners and whats
more, every pack contains a free plectrum!
Look for the summer blockbuster
sticker on the front of all promotional
packs of all Rotosound strings. Scratch
the sticker to reveal a unique code. Enter
the code along with your name, email
address and details of the store where
the strings were purchased into the
Rotosound website to instantly find out
your prize.
The Rotosound Summer Blockbuster
giveaway runs from August 1 to October
31 2015. To be in with a chance of
winning, go to your local music store
and pick up a pack of Rotosound strings
before stock runs out.
www.rotosound.com
Machine announce
Nashville Obsolete
Dave Rawlings Machine has announced
the news of Nashville Obsolete, the
highly anticipated second album.
Recorded on analog tape at Woodland
Sound Studios in Nashville, TN,Nashville
Obsolete features seven original
compositions written by Gillian Welch
and Dave Rawlings.
Produced by Rawlings, the album
highlights the brilliant musicianship of
Dave Rawlings and Gillian Welch on lead
vocals and guitar, Paul Kowert (Punch
Brothers) on bass, Willie Watson on
vocals and guitar and guest appearances
from Brittany Haas (fiddle) and Jordan
Tice (mandolin). Nashville Obsoletemarks
the seventh studio album on which
Welch and Rawlings have collaborated
together in their acclaimed two-decade-
long creative partnership.
Dave Rawlings Machine, whose rousing
live show has prompted critics and fans
alike to call them one of the hottest string
bands on the planet (SF Weekly) will
supportNashville Obsoletewith a world
tour. The album is released on September
18 via Acony Records.
www.daverawlingsmachine.com
the London Acoustic
Show 2015
Winner of Sky Arts Guitar Star TV show
Gary Lutton is set to make an appearance
at the London Acoustic Show 2015, held at
London Olympia on September 12 & 13 2015.
Gary, an instrumental acoustic guitarist
from Belfast, Northern Ireland, will
perform on Saturday 12 as part of the
Acoustic Caf line-up. His style blends
percussive techniques with intricate
harmonics and a love for the simplicity of
pop music, drawing influences from Van
Morrison and Paul Simon.
During the filming of Guitar Star, Gary
worked with Rodrigo y Gabriela and
Acoustic columnist Mike Dawes in addition
to recording his version of Fleetwood Macs
Everywhere with David Bowies Producer
Tony Visconti and playing the main stage at
Latitude festival in Front of 30,000 people. I
know its good to look at, but if you just listen,
its just beautiful music, says Tony Visconti.
The London Acoustic Show is held
at London Olympia and features
performances from Albert Lee, Doyle
Dykes, Steve N Seagulls, Luca Stricagnoli,
Martin Carthy and many more over
September 12 & 13 2015.
www.londonacousticshow.com

Recording King instruments set for UK distribution via RHJ guitars

RHJ Guitarshas announced they are to distribute Recording King and The Loar in the UK. Many guitarists in the UK will be familiar
with this range of instruments, from the Dirty 30s series, to the Century Jubilee Series of classic style guitars.
Beginning as a house brand in the 1930s for Montgomery Ward, Recording King acoustic guitars and banjos were developed during
the golden age of musical instrument craftsmanship a period that resulted in some of the most well-respected and sought-after
fretted acoustic instruments available. The Loar, a range made in homage to Lloyd Loar, Gibsons chief designer in the 1930s, are made
to the same designs, but with contemporary improvements.
The range is highly regarded and this is the first time these guitars have been made widely available in the UK. Based in Hull, England,
the founders of RHJ Guitars include Jamie Hartnoll and Richard Harfield who are both successful retailers in the MI community.
www.recording-king.co.uk

August 2013 acoustic magazine

 Win!
AN AVALON L2-20C
WORTH 3,000
If you want to win this custom shop Avalon L2-20C, all you have to do is
answer the following question correctly! Couldnt be easier.
If you need a hint, head over to www.avalonguitars.com

In what year was Avalon Guitars founded?

A 1979 B 1989 C 1999
ENTER VIA:
WEB: www.acousticmagazine.com or www.facebook.com/acousticmagazine
EMAIL: Include Avalon comp in the subject field, making sure that you enter your answer, name, age, contact telephone number and address in the body of the email and send it over to
acousticcomp@blazepublishing.co.uk
POST: Complete the form, below, tear off and send FAO Acoustic magazine / Avalon comp to Blaze Publishing, Lawrence House, Morrell Street, Leamington Spa, Warwickshire, CV32 5SZ.
Closing date for the Avalon competition is 23 September 2015. The winner will be announced 24 September 2015.

*Required details to enter the competition

Answer* ..............................................................................................................................................................................................................................................................................................................................................................................................
Name*.....................................................................................................................................................................................DOB* ................................................................................................................................................................................................
Address* ............................................................................................................................................................................................................................................................................................................................................................................................
Email* ...............................................................................................................................................................................Tel. No.* ................................................................................................................................................................................................
Do you subscribe to Acoustic Magazine?* Yes No Do you buy/subscribe to another publication? Yes No If Yes which publication? ...................................................................
Please tick if you do not want to hear from Acoustic Magazine or the London Acoustic Show

*Competition entries must arrive no later than the closing date specified. The winner will be announced on 24 September 2015. Only the winner will be contacted. One entry per household. Image(s) of
winner may be used for future editorial or advertising purposes. The winner will be selected at random from all the correct entries. No cash alternative is offered. Acoustic magazine reserves the right to
substitute the prize for an alternative of equal or greater value.

12 ACOUSTIC MAGAZINE SEPTEMBER 2015

013.indd 13 17/08/2015 15:50
014.indd 14 17/08/2015 16:36
 ASK THE
EXPERTS
THIS MONTH, WE FIND OUT HOW YOU CAN GET
YOUR SONGS TO SUCCESSFUL ARTISTS

T
he industry has changed a lot in
the last 15 years; the advent of
iTunes and Spotify means a hit
single is more important than
ever. And for increasingly risk averse labels,
using a songwriter with a proven track
record may be a safer bet than going out on
a limb for someone new. So how can budding
songwriters get some of their songs to
successful artists?
compete for big artists with big advances,
so they need to get involved with talented
songwriters in the early stages. Make sure
that they already publish contemporary
writers, and do your research before you
approach them. Be certain you are the right
fit for each other. And if youre thinking of
going down this route, it is worth getting
advice before you dive in. Get in touch with
us here at the MU.

NETWORK AND SKILLS TALENT, TENACITY AND A LITTLE LUCK

Talent is important, but building strong
personal relationships is the cornerstone
of a successful music career. One way to
get your foot in the door is to offer to work
as an assistant to a successful songwriter
and producer. Dont be too proud to do
minor production jobs. Being in the room
is half the battle and if an artist is going to
spend months in the studio, theyd prefer a
talented person who is easy to work with.
Find others who compliment your skills. If
youre a topline writer specialising in lyrics
and melody, form a team with a track writer.
It used to be that a guitar with a vocal was
enough to identify a hit. Now, you have to be
able to produce the track too. If you cant do
it yourself, bring someone on board the team
who has the production skills you need.
For an unknown songwriter, collecting
societies like PRS For Music (prsformusic.
com) can play a vital part in enabling
collaborations with other writers. With links
to songwriting camps, funding opportunities
and networking events, they can be an
important resource to meet people you may
go on to work with.
Digital technology may have made it harder
to make a living as a songwriter, but it has
also opened up doors for songwriters to take
charge of their careers and develop their
own projects.
Being a professional songwriter today
requires much more than just making music
it also takes an innovative business mind
and a friendly disposition. MU members
can take free courses in business skills,
marketing and more all geared towards
freelancers and get specialist advice from
expert officials at the Union.
Luck also plays a big part, so its important
to make the most of any opportunity you get
that feels right for you.
For more information, visit: theMU.org

HOW TO GET HEARD

Having a manager or independent publisher
can help you get your songs heard by the
right people and smaller indies may be
more likely to listen to tracks that are sent
to them. Theyre less likely to be able to

SEPTEMBER 2015 ACOUSTIC MAGAZINE 15

016.indd 16 17/08/2015 15:52
017.indd 17 17/08/2015 15:53
interview Christopher Paul Stelling

18 acoustic magazine september 2015

 interview

christopher paul

stelling
Christopher Paul Stelling is one of those performers you could easily envy
with a superbly salient voice and ultra-skilled fingerstyle-cum-claw-hammer
playing technique, all on one instrument. He is a real talent and an engaging
character. Acoustic spent an hour discussing the joys and hardships of the
road and his new album, Labor Against Waste.

Words: glenn kimpton

W
e meet in a temporary stay
car park in Cardiff for our
chat, with Christopher
having just arrived from
Nottingham and booked to play the Full
Moon that evening. Travelling from his home
in the States, he is touring the UK with his
newly released Labor Against Waste record,
an immediately accessible set of consistently
fine songs. First and foremost, I feel really
good about the album, he begins, and I worked
really hard on it. But of course, when I look at
it and listen to it, there are always things that
could have been done differently or could have
been done better. Often these realisations come
from reinterpreting and actually improving a
song during a performance. But thats good in
its own way, you know?
As any musician knows, the time that
passes between conceiving the idea of an
album and hearing it in its entirety can be
long; the songs on there need to have some
staying power for the player as well as the
audience. Well, yeah, I finished the record
back in September last year, and I started
writing it in February, so Im over this one,
he laughs. Im ready to start looking at
another project. Im totally glad people can
hear it now and Im happy with how its
being received, but I havent really listened
to it for a while now.
As well as being an effective, exciting
10-tracker, Labor Against Waste was in itself a
labour of love for Christopher. The record is out
on a label, but my friends and I did the whole
thing; I went into the studio initially with The
Low Anthem to record a bunch of songs I had,
and then I went off to Europe, came back with
some more songs and went into the studio with
a band and some good gear. It was recorded
in segments because studio time is fucking
expensive and it was mastered and mixed by us,
so in that way its a very important one.
Not having a record company breathing
down his neck clearly seems to be the way
Christopher would prefer to work. Yeah,
absolutely. I didnt have to ask for permission
on this record or for forgiveness from anybody.
It was just me and the people I was making the
record with. There were no strings being pulled.
There is a refreshing sense of optimism
running through the new album, notable in
titles like Warm Enemy and No Sweetness
In Revenge, but most apparent in lyrics like,
I know my work will never be done until I
can see the good in everyone, the wonderful
mantra-esque line in Hard Work. Was this himself and a well-worn nylon-strung Gibson
writing stance a conscious thing? I never really
thought of myself as an optimist, but lyrically
this record is a lot more optimistic than the
ones before it. I think that what I was realising
was that there is a real positivity in confronting
the darker and more troubling side of things.
And on the flipside, theres a real negativity in
supressing it; I see a lot of that in people who
are just being blatant optimists when its clearly
fake. Sometimes the only way is to say, Hey,
this sucks and heres what were going to do
about it. Life can be tricky and I believe that its
positive to admit that sometimes.
Its as refreshing talking with Christopher
and hearing a firm standpoint on some relevant
issues as it is listening to his songs, but he is
also firm on what he is and isnt attempting.
Im not trying to really directly communicate
with other people in my songs, he says. I
think what mainly shows through the lyrics
is a dialogue and communication with myself.
He stops to mull this one for a moment before
explaining. Well, maybe its more about having
a conversation with myself and other people,
but its not me speaking at them; thats not what
its about. Thats where it can overstep the mark
and become religious or quite troublesome. Im
not an authority; Id like to consider myself a
friend or ally; thats what Im going for.
Playing live, Christopher strips it back to
(more later). On record, however, the band
sound is in effect, albeit on a very subtle and
classy level, with enough space to hear the
songs properly. The first two records were very
sparse, with just a little bit of fiddle and a little

september 2015 acoustic magazine 19

interview Christopher paul stelling
bit of bass, so i suppose part of it was to keep
me from getting bored, but a real factor was
being able to work with my friends. ive never
had a band, but ive met enough people over
the years who are great players. so it was a
case of, well, lets bring them in, you know?
the listener doesnt have the benefit of a live
performance, so lets give them something
to listen to on the record. i used to be much
more of a purist, like the record and live
performance had to be the same, but im not
thinking like that these days. You can make
both interesting.
Back to live shows and touring, christopher
takes only the one guitar, the aforementioned
1964 gibson, which has been given the
nickname Brownie, much to christophers
amusement. i never had a name for my guitar!
he laughs. i did this video interview where i
joked about calling it Brownie, and it stuck!
ah well, its still a very special instrument to
me; its the one ive used on all my records and
played all of my shows with so its dear to me.
its nylon-strung and, to be honest, theyre not
that great guitars, but i love the nylon strings,
they seem to have a lot more attack in them.
theyre really dynamic and less plinky than a
steel-strung guitar; you can strike them harder
and all that. cant play slide though and thats a
bummer; i like a bit of slide.
so its all about practical travelling for this
musician. Yeah, its just that guitar i take
around and a stomp-board thing i made, which
is a piece of ply with a contact mic underneath
it running through an eQ pedal to cut out the
20 acoustic magazine september 2015
highs, he explains. the guitar has a wireless
on it that goes through a condenser mic, so i
can bring it towards the mic when i need to. its
an LR Baggs iBeam active that sits under the
soundboard. its great, and i run it to a shure
wireless setup where the receiver is the tuning
pedal. Fantastic!
unfortunately, on this particular trip, the tail
end of it had to a far more minimal affair. We
got broken into the other day through the car
window and they took the wireless system, the
stomp-board and all that; but they didnt get my
guitar! so you see the optimism and positivity
mentioned earlier. its okay, he reasons, you can
swim in shark-infested water for years without
getting bitten and then one day you do.
this swimming or travelling has been
a significant part of christophers life for a
long time before he began performing, and so
informs not just his music and style, but his
lifestyle. i was restless for years and would
just travel, almost as a method to really get
my shit together before i began playing in
front of people. For me, playing music was
a necessity, it was either make this work or
get a job washing dishes or whatever. i didnt
go to college or have any career plans, so i
started playing music to get out of that really.
Before any of it though, i was wandering
around a lot; i really like being in different
places and being independent, so in the end it
was a case of getting this music thing off the
ground as a way to enable that way of life.
as a non-performing musician in those
wandering days, christopher fancied himself
as an instrumental guitar player. i was a
better player then than i am now and i really
wanted that to be my sound; i really wanted
to be an instrumental musician back then,
but the singing somehow became a part of
it. these days, he finds that the vocal in the
song really helps grab attention; i would
suggest that having a voice that would make a
football pitch of people listen helps. Back then
i would get up and play guitar and play well
for a minute, he says, but as soon as you open
your mouth and sing, people shut up. it seems
they really like words in their music and they
like to hear singing.
People are certainly listening to christopher
Paul stelling now, and you get the feeling it is
a steady trajectory and he is the real deal. its
great at the moment, although just a couple
more people at the gigs would be even better.
thatd be really great! thatd make the getting
up and driving five hours to the next show so
much more worthwhile. im actually a driver
by trade, he grins, and the end of the night
i get the pay-off by playing music. it doesnt
sound too bad a trade. i have no real agenda or
means to an end, he says seriously. this is my
means of survival and i like that people receive
it and get excited about the live shows and
take something with them in their memories. i
think its also really important to show people
different ways of doing the life game. im a
self-educated travelling musician, and thats
my life and its cool for me, you know?
Labor Against Waste is out now on Anti-.
www.christopherpaulstelling.com
021.indd 21 17/08/2015 15:54
interview craig ogden

22 acoustic magazine september 2015

 interview

c r a i g

ogden
Acoustic talks to the classical guitar virtuoso about his new award-winning
album Craig Ogden and Friends, about what he would like to record next, and
about the guitar playing tradition in Australia as well as his first inspiration
to take up theinstrument: folk singer-songwriter John Denver.
Words: andy hughes

A
ustralian born guitaristCraig
Ogdenstudied guitar from the age
of seven. He is one of the worlds
finest classical guitarists and has
recently released his new album Craig Ogden
and Friends which, as the title suggests, features
a host of special guest performers consisting
of a variety of pieces from some of the worlds
greatestcomposersincludingBach,Raveland which is what is provided by Classic FM.
Albeniz, alongside modern pieces from the likes
ofEinaudi, John Lennon and Paul McCartney.
Craigs passion for guitar music started,
not with the giants of classical guitar John
Williams and Julian Bream, but with the tones
of American singer-songwriter John Denver.
I was about six or seven, and my mum and
dad played John Denver albums at home, and I
really liked the idea of playing guitar, so I nagged
them into buying me a guitar and paying for
some lessons for me. I went to a teacher who
taught simple strumming and chords, but he
also taught classical guitar as well, so that was
my first introduction into that sound. I enjoyed
it enough that, by the time I was 14, I had decided
that I would like to study music at university.
I grew up in Perth, and I figured that if I was
going to leave Perth to study music, I might as
well head for the northern hemisphere because
there is far more musical action there. So I came
to England because my mum is a British citizen,
and started my postgraduate studies here.
Craig is keen to point out that he didnt
assume that a successful career in classical
music was there for the taking he just
wanted to take his talent as far as it would go.
But his signature on a contract with the Classic
FM label has seen his albums with them shoot
to the top of the classical music charts. Craig
has figured out at least part of the reason for
his success in terms of album sales.
I think its down to commercial orientation,
says. Peoples opinions vary about what
Before recording for Classic FM, I had recorded
about 15 previous albums as a solo musician,
concertos chamber music and so on, for a
number of other levels. That meant I had a
large amount of experience of recording, which
was great. When I came to work with Classic
FM, their approach was more commercially
based. Classic FM and I chose the repertoires
collaboratively because they know what their
audience likes to listen to. Plus, they have great
ideas about marketing and how to reach their
target audience. So it was about presenting,
marketing, and the Classic FM brand that
reaches out to a lot of people; that combination
has brought me the success I have had, and I
know I am extremely lucky. I love the feel of the
guitar, I love playing it, and I love getting better.
I love spending five minutes just improving
on a tiny little skill. The teacher I had in Perth
was really focused on tone quality, which I am
very glad about. If you are listening to recorded
music, there is no visual element, so sound and
tone are incredibly important. The guitar I play,
which is made by Greg Smallman who makes
guitars for John Williams, sounds beautiful
and I do my best to make a beautiful sound on
it and my repertoire thrives on lovely clean
lyrical sounds.
This is a good point to discuss guitar tone
in more depth, starting with any way of
developing it on classical guitar.
I just go for the best tone I can get, Craig
sort of sound they want, a little bit warmer,
or a bit brighter, but there is a pretty broad
consensus about what constitutes a nice
listenable tone when produced on the guitar.
What is not necessarily a consensus is what
sort of sound people want their guitars to
make. There are a couple of camps there
is the Smallman lattice-braced construction
versus the traditional Spanish sound, which
is the real dividing line. But in terms of the
tone produced by the performer, I think there
is pretty much an agreement on what is a nice
sound and whats not.
So what is Craigs advice on getting a good
tone with a classical guitar?
Start by paying attention to your fingernails;
the right shape and length, and the edge has to
be perfectly smooth. You cant just file it, you
then have to buff it. I use 2000 grade wet or dry,
and you polish until edge is smooth. My teacher
back when I lived in Perth, a guy called John
Carey, was keen on proper tone, and taught me
how to pay proper attention to my nails. I have
taken the principles and adapted them to my

september 2015 acoustic magazine 23

interview craig ogden
particular nail shape. it is a geeky focus point,
but classical guitarists are always discussing
the shape and length of our nails, and what
we buff with. its the equivalent of pickups and
amps for electric players, in terms of making
a great sound. What we have is a hollow box
with strings, and our nails, so what should be
simple in principle takes time and effort and
experience to get the sound you actually want.
While we are getting some great advice,
what about choosing the right guitar?
i think that three-quarter options are
good for younger players and smaller adults
or adults with small hands, craig says.
sometimes, full-size models are hard to get
your hands around, or the fretboard can be too
big. Learning classical guitar on a steel strung
instrument, as opposed to nylon strung, is not
impossible; its just not as easy. most adults
who are learning know how good classical
guitar playing sounds, its just a matter of
investing that patience in learning and getting
better as you go.
as well as his successful recording and
touring career, craig enjoys a parallel career
as the principle lecturer of guitar music at the
northern college of music in manchester. so is
that a bit of a juggling act?
it can be, but for me, performing always
comes first. i sacrificed my family life in
24 acoustic magazine september 2015
australia to come to england and study the
guitar because i love to play, and i am very
lucky to have a job that lets me concentrate
on that. if i am away performing for a week,
my students understand and are fine with
that. i do go to great lengths to make sure that
i get all my teaching commitments in, so its
performance and recording schedules first
and i manage to fit my teaching around them
and it all works out very well.
no matter how good a guitarist is, there are
pieces that will always prove a little difficult to
play. in craigs case, it is the first movement of
Rodrigos concerto de aranjuez, one of the patience and practice. the satisfaction of the
most well known classical guitar pieces written.
as it is so well known, it does put extra
pressure on the guitarist playing it. For me,
some of the arrangements of Django Reinhardts
pieces by Roland Dyens are particularly tricky.
His arrangement of nuages is challenging.
so whats the best advice for mastering
technically challenging guitar pieces?
Well, besides learning guitar, when i was at
school, i also played orchestral percussion, so
my sight-reading is pretty good. What i do with
a new piece is read it through first so i quickly
get an idea for the difficult bits. i put a pencil
ring on the hard bits, and i start with those bits
in isolation. as they get better, i put them into
context, bringing in the bar before and the bar
after. eventually, you reach the beginning, and
also the end of the piece, and you can slowly
play it through at the same speed. then you
polish the hard bits until you have got them
nailed and then you can start to build the
speed up for the whole piece. if you do it that
way, you avoid playing along at normal speed,
and then having to slow down or stop at parts
where you are unsure what you are doing.
that drives me mad, so my technique means
i dont have to endure that frustration. it takes
patience, but then, learning an instrument,
and learning pieces of music is all about
first couple of times you get to play a piece
through from start to finish is well worth all
that effort, every time.
a lot of my students come from electric
playing, or basic acoustic playing, and they
move to classical guitar because they love the
repertoire. that is the first place to start have
a listen to the major classical guitar pieces and
decide if you like the music, and the sound,
and if you feel you would like to have a try
at making that music for yourself. get a few
Youtube clips together and see how it looks
playing a classical guitar oh, and remember
that good posture is essential.
Craig Ogden and Friends is out now.
www.craigogden.com
025.indd 25 17/08/2015 15:55
interview richard hawley

26 acoustic magazine september 2015

 interview

the milk carton

kids
Joey Ryan and Kenneth Pettengale are a perfect example of beauty and
harmony in simplicity and quality. They are the band who reduced Marcus
Mumford to tears in Another Day, Another Time, the documentary
celebrating the music of the Coens Inside Llewyn Davis, and they have hit
highs again with their new studio-dodging long-player Monterey.
Words: glenn kimpton

T
he Milk Carton Kids keep it very
simple with a strict two guitars and
two voices approach to the music
they make. When deciding to record
a fourth album of new material, they decided
on a different process to the norm, with it being
recorded on the road. We didnt want to go into
the studio this time, Joey says, so we made it
in various venues on our last tour; we just got
there a few hours early and stood on the stage
and recorded there, without any real agenda.
This technique seems very apt for a duo that
opts out of many contemporary musical and
recording techniques; did it feel like the right
direction to take? Its funny really, Joey says,
because all of the things we thought would be
the salient features of an album being recorded
in concert halls instead of the studio, like it
being sonically more like our live shows, were
not really the case in the end. What became
apparent as we went on was that this method
gave us the sense that a particular day of
recording wasnt of any heightened significance.
This may at first sound almost blas, but it
seems instead quite a cathartic exercise for the
band. We were booked into 55 venues on the
tour, so there was always tomorrow. We never
had to get it right then; there was no pressing
time limit on getting it perfect. Ironically though,
that potentially endless retaking and redoing
of the song had always been detrimental to us
as solo artists, because youre in danger of going
down the rabbit-hole of instrumentation and
over-production to the point that you never know
when youre done. But being committed as we
are to the format of two guitars and two voices,
what it gave us was a completely pressure-free
environment to try to get great performances.
To Kenneth and Joey, it was almost making an
album without intending to make an album; like
peeping through the fingers and catching sight
of something special. We didnt even listen
back to any of the takes until months after the
tour, says Joey. Then Kenneth sat down with
however much coffee was needed and trawled
through hours and hours of performances,
hunting for the ones with the inspiration or
magic in them. So it turned out that we achieved
this thing that I think is almost impossible
to achieve on purpose, which is putting out
recordings that we didnt really think anybody
would ever hear. I think that unexpectedness
was the most important thing about the whole
process, more than the acoustics of the churches
and concert halls.
It sounds like Monterey wouldnt really have
existed if a studio process was the only option.
When youre in the studio, says Kenneth, it
can often seem like youre under a microscope.
Our music has always been very performance
based, and performances, from one night to the
next, can be very different. Its quite difficult to
reach deep and conjure that performance in the
studio, when you know theres only a couple of
days to get it right and when youre hearing it
back straight away after you have performed it.
Thats not been the best method for us, and we
wanted to avoid that this time.
The album, with its conception and apparently
quite primitive recording methods, smells
strongly of old time traditional recordings,
albeit with some modern help in places. Yes,
its exactly like that, Joey says. We did do
some editing afterwards. I mean, if we were in
Edmonton one night and we did a great take
but ran off the rails in the outro, we would find
an outro from a different take and if it worked
we would cut them together. I mean, he laughs,
weve never been purists or traditionalists
for the sake of it, we just want to get the best
performance that we can on tape. Jesus, were
stood close together by a microphone and it
bleeds and all and it can make it difficult as
hell to edit. Well allow ourselves some digital
technology sometimes!
Its quite refreshing to hear the guys talking
about their minimalist approach to making
music without sounding like martyrs and
allowing some polish when necessary, not
just as padding. Right, exactly, and I think the
difference is again being a performance-based
unit instead of being perfectionists. Were after
a great performance, but if we can improve it

september 2015 acoustic magazine 27

interview the milk carton kidS
slightly in post-production, then we will. But, he
grins, we limit ourselves so much in our setup
that much tampering is very difficult.
the intimacy and delicacy present in the
guitars and vocals of the band almost hides
some heavy topics tackled on record, like the
outwardly pessimistic and disgruntled anti-war
message on Freedom probably the heaviest
hitting song on Monterey. it seems that the Kids
are not trying to shy away from pressing current
affairs or anything else. its intentional that we
do look at significant issues, they say seriously,
and that when we write, we cover the whole
range of things that occupy our minds. that
can range from the personal and introspective
all the way to the overtly political and socially
conscious. the track Freedom is overt, but we
believe it is all fair game, you know? as listeners
and as writers, we would get bored of an album
that was entirely political, much as we would of
an album that entirely personal.
a crucial element of the pairs sound lies
in their instruments which rarely veer from
Kenneths 1954 all-mahogany martin 0-15
and Joeys big 1951 gibson J-45, which has
its own interesting history. its crazy really,
laughs Joey. it was given to me by a fan in
the very early days, before Kenneth and i
played together. i had nine fans; i knew there
were nine, because they were all on myspace!
and one day my fan wrote me a message that
asked what my dream guitar was, which i
found novel at the time and flattering; maybe
she wanted to have the same guitar as me or
something! so i replied saying i was on the
28 acoustic magazine september 2015
ACOUSTIC
ROMANCE
Joeys cherished J-45 and Kenneths 0-15 are
very different boxes; I wonder how they roll
alongside one other. Oh, those guitars were
made for each other! laughs Joey. Kenneths a sound theyve always been partial to. its not
is in standard tuning and mine is standard but
tuned down a whole step, so it kind of feels like
where mine ends in the higher register, his picks
up. Theres very little sonic overlap between
them and it feels like we can explore a broad
range, especially when he capos quite far up
the neck. Theres just something about the two
together that just works; weve played different
guitars together, but nothing works anywhere
near as well as the Gibson and the Martin.
lookout for a late forties or early fifties J-45;
to me, whenever i heard one from that era, it
was just how a guitar should sound, you know?
With a capital g! so, she wrote back again a
while later with this message saying, Like this
one? and this link to an eBay auction she had
won, which was this 1951 J-45. good through a pickup. or at least a guitar
even after probably retelling this story
umpteen times, Joey still sounds ummoxed.
so i write back saying congratulations, what
a beauty, and she says, its not for me, i need
your address! two days later, this guitar
arrives in the mail and it was so perfectly set up
that i played it at a gig that night without doing
a thing to it.
the vintage versus new argument in the
world of acoustic guitars is almost as old as
nature versus nurture, but it is generally agreed
that the older a guitar is, the richer and warmer
it will sound, hence the amount of techniques
being unearthed by premium builders like
Bourgeois to speed up the ageing process. the
Kids both play 60-plus-year-old guitars, and its
like were after a vintage sound specifically, says
Kenneth, but we are both partial to the sound
older guitars with older strings make. the worst
thing to happen to us is if one of us breaks a
string and we have to fit new ones; it feels like
we dont sound right for a couple of weeks after
that! there is definitely something about the
wood and the joints on an old guitar that has
been living with itself for so long; it just seems to
settle into itself and breathe as one, you know?
We finally touched on the subject of
pickups in the acoustic guitars, or in the Kids
case, the lack of them. We already knew from
before we began playing that we would not
be playing our guitars through pickups, Joey
says, and its because we both believe that we
have never heard a guitar sound particularly
thats as exposed as our guitars, when its
just the two of us singing and playing and
the subtleties and dynamics of that setup. its
such an elemental piece of the performance
and ive never heard a pickup that can make a
guitar sound how we need it to sound for our
performances. Well just stick to the one mic.
Monterey is out now on ANTI-
www.themilkcartonkids.com
029.indd 29 17/08/2015 15:55
interview richard hawley

30 acoustic magazine september 2015

 interview

chico and the

gypsies
Gipsy Kings founding member Chico Bouchikhi formed Chico and the Gypsies
in the early 90s and the group quickly attracted attention with their album
Vagabundo. They have since built up an assured international following with
numerous tours and album releases. Acoustic talks to Chico about writing some
of the most widely known flamenco music of the last 40 years.
Words: andy hughes

I
f you utter the words flamenco guitar
to anyone who has taken an interest in
popular world music over the last forty years,
chances are theyll come up with The Gipsy
Kings. French in origin, the band started out as
Los Reyes (The Kings), created by Nicolas and
Andre Reyes, sons of flamenco master Jose Reyes.
Travelling around France, the band played any
and every social occasion especially weddings
and parties. Due to the constant travelling and
living the gypsy lifestyle, the band adopted
the name the Gipsy Kings. With the release of
Bamboleo, an instantly recognisable piece of
flamenco music that was a massive hit all over
Europe, fame and success was assured.
The architect of the Gipsy Kings success
(and co-writer of their biggest hits Djobi Djoba,
Bambolo and Soy), Chico saw them become
the first French group to be awarded a platinum
disc in the US and go on to sell an estimated 20
million albums, making them one of the biggest
world music crossover acts.
Guitarist Chico Bouchikhi left the band in
the early 90s to create his own band, Chico
and the Gypsies. Led by Chico, the line-up
comprises Mounin, Joseph, Kema (Manitas
de Platas grandso) Babato, Tan, Kassaka and
Rey (a nephew of Manitas de Plata). The bands
infectious brand of rumba, flamenco and Latin
pop and rock tunes is joyful, flamboyant and
hugely entertaining.
Having grown up with music around him, it
was almost inevitable that Chico would become
a professional musician his destiny was sealed
when he married into the Reyes family.
I started playing guitar thanks to my elder
brother who bought me my first guitar when I
was 17. When I got to know the Reyes family,
they took me in as one of their own, and they
encouraged me to play more guitar because they
all played, and from our own enjoyment of the
guitar music we made, we formed the Gipsy
Kings. My very first acoustic was a Spanish
guitar, but I cant remember if it even had a
brand name. I now play a Takamine which I have
had for a few years. As a band, we own so many
guitars that we probably have a bigger stock of
acoustics than most shops would have.
To the casual listener, it would seem that Chico guitar. I just play and it is easy for me and for all
and the Gypsies play flamenco music but, in fact,
their music is a blend of different cultures, as
Chico explains. Flamenco music is the essence,
the spirit of Spain, and it is popular all over the
world. The music is a mixture of influences from
a number of cultures that mixed in Andalusia.
I think that the pure flamenco is reserved for a
few musicians but, when I was with the Gipsy
Kings, we popularised flamenco and spread its
appeal by mixing it with other musical forms.
Some people think that we are not true to the real
spirit of flamenco, but I do not mind that. People
will think what they like, and I know that we
bring a lot of pleasure to people around the world
with our music and that is what is important.
Besides, some people may carry on after listening
to our music, and explore traditional flamenco
music, and that has to be a good thing too. People
recognised their own music in our style of
flamenco, and that is the reason we have reached
so many people around the world who love the
music we made, and the music I make with Chico
and the Gypsies now.
Its no secret that flamenco is a complex form
of music to play, but having grown up around it,
for Chico it was a way of life. I have been lucky;
I have grown up in the gypsy community where
playing the guitar for a young boy is as natural
as riding a bike. Its second nature to me, I have
never experienced any difficulties in playing the
of us who have grown up with it. That is not to
say that I can play any and all styles. There are
many styles and techniques that I do not have. I
admire the playing of Eric Clapton and I would
love to have some time to explore that.
Do you take a lot of guitars on stage? No, there
are eight members of the band, and everyone
takes one guitar only on stage. I think if everyone
took more, there would be no room for us! One
of the things I like about the Gypsies is that each
player has his own guitar which he has chosen,
and which fits his own particular sound and
style. When we blend those individual sounds

september 2015 acoustic magazine 31

interview chicO and The gyPsies
and styles together, that is what gives us our
unique sound. i think we operate the way most
bands do. When we have a new piece, we get
together and we try it out, and everyone is free
to suggest ideas for how we can improve our
overall sound. there does come a point at which
an arrangement has to be finalised and that is
my decision. in the event of a dispute about the
way forward, i will always have the final say. it
has to be that way otherwise people will discuss
things for days, or weeks, and never actually get
anywhere. i am not a hard task master, but when
my decision is made, that is what we go with, and
everyone understands that.
the vibrant music made by chico and the
gypsies is a veritable musical melting pot of
sounds that are created in andalusia, but they
have never lost sight of their musical roots.
When we are warming up backstage before
we go on for our concerts, we always play more
traditional spanish music because we still love to
play it, and it helps us to really get into the feel
of our music that we are going to play because it
has grown out of the traditional sounds that we
all grew up with. We find that playing our own
traditional music, as well as listening to as much
music from other artists in other musical styles,
helps us to compose and develop new material
for our own concerts and albums. What we
play can depend on where we are in the world
32 acoustic magazine september 2015
and it certainly depends on the mood of the
band as a whole. the great thing about having
so many people to work with is that someone is
always having a new idea about a new piece of
music, or maybe a twist on a piece of music that
we are playing in our current tour set. there is
never a time when we feel stale or as though we
are bored with the music we play it is far too
exciting a style for that.
What about working with other musicians
outside the gypsies? Personally, i am always
interested in any opportunities to work with
other musicians we have worked with Joan
Baez, for example. i firmly believe that exploring
any kinds of music we can helps our creative
process as a band. i think all good music comes
from a fusion of styles and that includes the
music that we make. i think all musicians should
keep an open mind and listen to, and play, as
many musical styles as they can it can only be
good for your technique as a player, and for your
music. sometimes, musicians who play one style
of music listen only to pieces of music that are in
the style they play, and that is not good for your
development. Keeping your ears open and being
alert to any and every style is the way to learn.
since his earliest days as a musician, chico
has played in numerous bands, but has he ever
considered a solo career? it has never crossed my
mind to even think about starting a solo career.
For me, the musical energy of my performance
and the performance of the bands i have
played with, and play with now, is all about
the interaction of musicians playing together.
as our concerts progress, the energy levels
from each of the musicians gets higher and
propels the whole band forward and we take
our audiences with us. i love that feeling and i
cannot imagine being able to create that level
of energy and excitement on my own, either on
stage or in a studio. For me, the creative force
is in the musicians playing together, and that is
why i have always been a band musician and i
would never be happy just playing on my own.
the way i grew up, playing the guitar is a social
experience; people do it with friends, with their
families, with neighbours and it is that feeling
of belonging that i get when i play with my
band, or with friends and family at home, that i
love the most. that is why i make guitar music,
to enjoy that bonding experience; it is the best
feeling in the world. i think that enjoying playing
music is a very individual thing. For some it is
about playing alone, and lots of people enjoy that.
For me, it is about playing with other people
and the more the merrier!
Chico and the Gypsies tour the UK in October.
Tickets are on sale now. Check the website for full
dates and ticket links.
www.chicoandthegypsies.com
033.indd 33 17/08/2015 15:59
34 acoustic magazine september 2015
 interview

At home, kinda, with...

r i c h a r d

h aw l e y
A Sheffield icon, a restlessly prolific songwriter, and a man obsessed with folk
musics heritage Richard Hawley opens up about his new album Hollow
Meadows, his love for Martin Simpson and the Waterson dynasty, as well as
guitars from some of the greatest luthiers in the world.

Words: Guy Little Images: Richard Ecclestone

S
tepping into Sheffield, you soon realise
its so much more than the Steel City.
It has nurtured the likes of the Arctic
Monkeys, Martin Simpson, Paul
Carrack, Def Leppard, Human League, Longpigs,
and Pulp among others (Hawley has been a
member of the latter two) the northern city
has long been a crucible of creativity, producing
more than its fair share of acclaimed musicians.
Out in the city, just a smidge north of the
River Don, Yellow Arch Studios sits within a
complex of grey buildings cushioned by cafs,
chip shops, graffitied walls, tall steel shutters,
and windows secured with steel bars. Its not
an unusual sight for a city, but among the grey
is that yellow arch, and once you step through
it you can almost feel Sheffields assured
musical heritage seeping from the walls for
Hawley, however, its business as usual. For
the last 15 or more years, Yellow Arch has
become Richard Hawleys second home.
Welcome to Yellow Arch, this is where
we make records, Richard opens with his
stoic rock star cool and, er, eating chips
from a paper wrapper. Do you want one? I
was a bit hungry, he says amid the clatter of
people rushing up the stairs carrying guitar
case after guitar case (there are around 12
guitars in total, and even the best of us would
applaud that).
Every Hawley solo album has been
recorded in Yellow Arch Studios; the walls
are decorated with his discs Coles Corner
and Standing At The Skys Edge Oh, take that
down, he says, pointing toward Coles Corner
hanging just in shot of where were sitting
and due to record.
Here, put this up there; hes much better!
he says handing me frame with a print of
Buddy Holly in it.
The self-effacing 48-year-old is Sheffields
biggest fan but we all knew that. Why
wouldnt I be? Its the place where I was born
and raised. I chose to stay in Sheffield to plant
my flag here.
His father was a musician, and his mother
a singer. Poignant memories about his
fathers influence on his music abound.
In my ignorance, I thought the acoustic
guitar was a little janitors closet but, when I

september 2015 acoustic magazine 35

IntervIeW RichaRd hawLey
opened the door, i found the grand canyon
on the other side. it was partly to do with
the knowledge, love and patience of martin
simpson, martin carthy, Roger Bucknall,
alister atkin and John smith but mostly
it was because of my dad. Falling in love
with the acoustic guitar was like hearing his
voice again.
at the age of 14, Richard was playing
guitar in his uncles band and in the early
90s he joined theLongpigs. He then spent
several years playing guitar with Pulp and
building a solo career. in 2006, his fourth
album Coles Corner was nominated for the
mercury music prize. 2012s acclaimed
Standing At The Skys Edge was also nominated
for the same honour. Despite critical
recognition, Hawley has never jumped aboard
a bandwagon, nor given much thought to the
upper echelons of the charts (again, despite
Standing At The Skys Edge puncturing the
mainstream). those things dont turn Hawley
on. instead, he has gone about building up a
consistently excellent body of work.
Hollow Meadows is Hawleys eighth
studio album and it marks a return to the
sophisticated songwriting and engaging
guitar arrangements that hes become so
widely known for. the record meddles with
the themes of ageing, relationships, and
fallibility the latter down to a pre-Hollow
Meadows injury that resulted in a bed-bound
Hawley contemplating things in life he never
had before. its brooding, wistful and, at
times, romantic.
i had this strange idea that when i became a
certain age, maybe i should start to get fit. i was
perfectly fine before i had this idea, but i went
to a friends house who had a home gym and
completely ruined my back doing that. [Hawley
had previously broken his leg while on tour,
and the health regime was an attempt to regain
fitness.] i was doing things a guy half my age
would be able to do easily, but i ended up pulling
discs here and there, and being laid up in bed
unable to move. there were two ways to get
well: surgery, which i refused, or to wait and let
my body heal itself. the thought processes that
go through your mind when you dont spend a
lot of time with other people are amazing.
any plans for what would become Hollow
Meadows would surely have to be put on the
back burner at his worst, Hawley couldnt
even sit up long enough to hold a guitar. not
to mention the prescription painkillers that
only made things worse. coming off them was
one of the hardest things ive had to endure
mentally far worse than any street drug ive
ever taken. i felt like id been thrown down a lift
shaft and had to claw my way back to daylight.
though at the time he didnt realise it, he
was already embarking on Hollow Meadows.
36 acoustic magazine september 2015
on a series of rehabilitating short walks,
Richard started to see things in a different
way and would explore nature and the
world around him. His shift in perception
can be heard on Hollow Meadows the
World Looks Down.
that track is a bit of an obvious statement,
and i wrote it for my kids mainly, but we can
all relate to it. We spend an inordinate amount
of time looking at screens instead of looking
at things around us and i think it can lead to
us not being very observant. one of my sons
has an app that you point toward the sky and
itll tell you what the stars are, which is pretty
useful i guess. im not saying these things are
bad because i use them all the time, but its
when it becomes obsessive thats worrying.
my grandfather used to say, Why bother
watching the weatherman on tV, why not
Falling in
love with
the acoustic
guitar was
like hearing
my dads voice
again.
stick your head out of the window? i dont like
relying blindly on electronic devices. You need
to create a harmony between the things that
are in front of you and technology. i wouldnt
have wished being laid up in bed on anyone,
but its a good test of your humanity. You
could lay there and get all vitriolic or you could
allow yourself to notice things that you were
previously too busy to notice.
another instrumental factor in Hawleys
revaluation of things around him was
neighbour and collaborator martin simpson.
Richard co-produced martins Vagrant
Stanzas, and martin plays on Hollow
Meadows Long time Down. although
simpson only appears on one song, his
inuence dovetailed the direction this album
takes. Hawleys admiration for martin
simpson knows no bounds.
our wives are sick of us, let me tell you, he
laughs. i mean, martin simpson has got me
playing banjo! martin and i live close together
and i met him because i was asked to present
a BBc Folk award to him and, at that point,
wed never met despite living practically next
door. i went all the way to London to give him
this award i couldve saved us all a lot of
time and just posted it through the letterbox.
there are certain people you meet and you
feel like youve known them a lot longer than
you have. His love and passion for guitars
is insane hes a frightening player. When
i met martin, i had been diagnosed with
arthritis in my hands which has thankfully
been subdued but there was a point when i
could barely move my hands. i couldnt play
properly and i was embarrassed by it i would
say to martin, i used to be good, yknow!
martin was patient with me and would hear
me getting over the arthritis and playing these
licks around our kitchen table to which hed
go, i heard that! Hes so articulate and such a
brilliant lyricist; i mean, Jackie and murphy
is just stunning. martin gave me a PRs guitar
that i use all the time, which was incredibly
generous of him. i mentioned to him that
a guitar id really like is a gibson J-200 to
replace the guitar that my dad had in the 60s
and early 70s that was stolen from him when
i was a little boy. i wanted to get a J-200 and
martin introduced me to a guy called tony
Werneke at Replay acoustics in Kent. martin
went down and called me straight away to
say hed got a 1931 martin 000-18. [Hawley
has since acquired a gibson J-200 and a 1936
martin 00-17 from Replay acoustics, the
latter of which hes photographed with on
the cover of this issue.] He sent me pictures
and we were both oored by it. thats one of
the finest acoustic guitars ive ever played,
without doubt. mostly, we just sit around the
kitchen table, drinking wine, playing guitar,
and encouraging each other. its a fruitful
relationship where we both gets lots out of
each other. theres a maker from York called
Ralph Bown who is a master craftsman. He
appears on the record martin uses a Bown
on Long time Down. Weve been talking
about Ralph possibly making me a guitar.
thats the thing about this record, though: one
of the most profound effects it has had on me
is that ive gotten really into english guitar
makers. alister atkin, Ralph Bown, and Roger
Bucknall they have all had an impact on the
record in their own way.
more than 40 years ago, sister and brother
Lal and mike Waterson of folk group the
Watersons made a record. startling original
songs touched on the topics of dying children
and drunkenness. the record wasBright
Phoebus, one of British musics celebrated
lost records and one that would be known
as folk musics Sergeant Pepper. two years
ago, songs written by Lal and mike for
Bright Phoebus were toured by an all-star
cast, including Richard Hawley and Jarvis
cocker. its clear that the Waterson shadow
is cast not only over Heart of oak a
Long-time Hawley
collaborator
Shez Sheridan
Shez Sheridan on Richard Hawley: Richard
and I have known each other since we were at
school. Ive played on every Hawley album and
have played with him live on every tour, too.
Some of our best gigs have been our acoustic
tours. We dont rehearse acoustic stuff very much
but we always try to do acoustic arrangements
differently well get a big sound with a
12-string in drop D. Richard had this idea that
instead of trying to craft the tracks in the studio
at the last minute, he wanted a long run getting
to know the songs. We spent at least a year going
through songs hed recorded on his phone. Ive
never been able to get the same sound playing
with anyone else. Theres just something about
us playing together the two guitars sound like
one. Hes got this attack and way of playing
thats just incredible.

Richard Hawley on Shez Sheridan: Weve

played together for years and we just know where
one or the other is going with a note or chord.
We use our ears more than our hands. When you
play with other musicians, especially guitarists,
we weave in and out and leave space for one
another. On songs like Long Time Down
we do a lot of fast picking and we
leave room where necessary.
It comes with time
and experience as
musicians, being
able to hear each
other is at least
50 per cent
of it!

september 2015 acoustic magazine 37

interview richard hawley
Hawley on
the guitars
that shaped
the sound
ofHollow
Meadows
song inspired by his friendship with Norma
Waterson but entirely over Richard.
There was a big hole, emotionally, for me
to fill at the time because I hadnt long lost
my father. I wasnt really sure if people of
that generation were around anymore that
I could make music with or even just listen
to. I went to Robin Hoods Bay in the North
York Moors National Park as part of a radio
show I was doing and Mike and Norma
Waterson were there. Little did we know
that wed have so little time left with Mike.
We all hit it off straight away. Norma sang
this old folk song a cappella and she floored
me. This beautiful, graceful lady with such
an incredible voice was mind blowing. Even
without all of the stuff about my father it
would have affected me, but it was great to
meet someone who was so passionate about
the same things as my father. Heart Of Oak
is about Norma, its about Mike, its about my
38 acoustic magazine september 2015
1938
Gibson L-00
I used this a lot on the record. Its got a very
direct sound and its quite bright. When we
record with it, I describe it as a square shape
it just hits the spot directly and is really
forward sounding. It is a sensitive thing as
well but when youve got a bass and drums
thing going off, this guitar will slot into the
mix perfectly and snugly. This was from Tony
at Replay Acoustics. It was lacquered quite
badly sometime in the early 50s, so even that
is pretty old, but I love it. Its light as a feather
and has a bigger voice than some jumbo
guitars. Its loud and a real shouter and it
reacts to whatever you do.
father, Martin Simpson, Jack Wilcox.
A romantic at heart, Hawley opens Hollow
Meadows with I Still Want You, a tender
and brooding track with a striking simplicity.
Hollow Meadows lush arrangements,
sophisticated and delicate approach define
Hawleys sentiment toward this album.
Standing At The Skys Edge had a big sound,
but Hollow Meadows was born in his cabin
dubbed Disgraceland with only a couple of
mics and a great sound and shows off his
rich voice and love for experimenting with
different guitars.
In a way, theres more than one meaning
behind I Still Want You. Its not just about
a relationship, but it reflects being let out of
an asylum. The asylum Im referring to is my
mobility when I got that back it was like
being set free. I asked myself if I still wanted
to do all of this, and the answer, I guess, was
yes. Thats one side to it the other is telling studio. That was a discipline I set myself
Fylde Mike
Waterson
Falstaff Custom
On one of my tours, John Smith and Lisa
Hannigan played together as the opening act and
John was playing a Fylde and it sounded amazing.
I got chatting to John and he said it was a Falstaff,
which is kind of what this guitar is. Before Mike
passed, Roger Bucknall told me that Mike had
left some Brazilian rosewood that hed salvaged
from a sunken ship. We talked about the idea of
commemorating Mikes life with a guitar and the
family gave us their blessing so we went and
built this guitar. Its a great honour for me to own
something like this and it is a sublime instrument.
Wed all much rather have Mike with us, but its a
fitting tribute to a great artist and a great man.
my wife that I adore her. I do like to keep
this kind of stripped-back feel. I got really
good at layering stuff up and building riffs
[2007s Ladys Bridge] but on this I didnt. I
built a cabin in my garden [Disgraceland] and
I spent a lot of time in there and realised
that it was a nice place to record. Instead of
going to a big studio and because the last
record was such a big sound I did most of
it in the cabin. It wasnt a deliberate move
against it; it was more to do with mobility.
The whole vibe of the record stems from that
cabin. We ended up coming down to Yellow
Arch and taking the demo tapes from the
cabin and using them we added bits and
bobs here but Shez [Sheridan, co-producer
and guitarist] and I spent a long time getting
the lyrics and the arrangements perfect. It
was the first time Id made an album with
the lyrics finished before I walked into the
 Fylde High
Strung
Alexander
This is in Nashville tuning which is something my
father taught me. He was shown this by Ike Everly.
I wrote most of the album with this once you
have a guitar this good in this wonderful tuning,
you just keep going back to it. I said to Roger that
I needed a great guitar I could record with, but
with the octave strings from a 12-er. He said hed
never done anything like that before and itd be an
interesting project, so he constructed this guitar
as an Alexander. It has a piezo pickup and its not
very blingly; I play it as much as I can. I cant big
up Bucknall as an artist, luthier, and man enough.
What hes done for me is incredible and its always
a pleasure to spend time in his company.
because I often do things on the fly. The
cabin really influenced me; the simplicity of
it was great and we used Yellow Arch as little
as possible, actually.
How Hawley landed on the title of the
album is another nod to Sheffield as are
all of his album titles. Richard spent time
looking into the name Hollow Meadows,
which was thought to be the location of a
hospital built in the city and one that existed
as recently as the 1950s. His research led him
to find out that the area was actually known
as Auley Meadows something believed to
derive from the Hawley family name
I did a lot of research with a friend of
mine, J.P. Bean who wrote The Sheffield
Gang Wars. I found someone on a forum
asking about Hollow Meadows and it was
weird at the time because a friend of mine
also said, Oh, Ive just been past this place
called Hollow Meadows; thatd be a great
Melodija
Menges
My wife bought me this guitar. She saw it in a
junk shop! Its happiest a semitone down and
doesnt like concert tunings. Ive recorded with
it, but keeping it in tune is a nightmare. It cost
her 28 and these were made in the 1930s in
Slovenia. I guess most people would use them
as kindling, but I think its got something really
beautiful about it. This guitar lives at my bedside
and Ive written more songs on this guitar than
I have on any other instrument. I love the fact
that my wife got it for me. Its not like one of the
Gibsons or the Waterson guitars theres a lot of
weight attached to those theres a lightness of
heart to this little guitar.
album title for you! That was a couple of
years ago, and it stuck in my head. When I
was laid up, I started looking at what it was
about because theres no point in calling
your album something with no meaning
behind it. The things that blew my mind
were the things that I wasnt looking for. My
grandfather, Steve Hawley, split up with my
grandmother when my father was really
young in the late 40s/early 50s. At that time,
it was a real faux pas and it caused a bit of
embarrassment. My father spent a lot of
time living with his cousins and it caused
upset for him in later life. We could never
find out much about that side of the Hawley
family because wed lost contact with my
grandparents. So there arent many records
of my fathers side of the family, and while
I was simultaneously trying to find out
information about his side of the family,
and this Hollow Meadows name, I couldnt
Collings
0001 ASB
Martin [Simpson] and I got one of these
Collings guitars each and theyre very special
to us both. They were made from the same
piece of wood and when theyre side by side,
they illustrate how you cant make the same
guitar twice. Everything was from the same
tree, I think same neck wood, same top,
back and sides. Theyre both great guitars,
of course, but they sound so different.
Its fascinating. For example, mine is a lot
brighter than Martins. Collings are fabulous
guitars and I dont think I could ever bear
to put a pickup on this. It has a great sound
and is really punchy.
believe what I found. In the 17th century,
Hollow Meadows was known as Auley
Meadows. Us from the north of England,
we drop the letter H so, Im Richard Auley,
phonetically. Auley Meadows changed
over time and by 1724 it became Hollow
Meadows. It got its original name from the
Hawley family who lived there between the
1300s and the 1600s. Can you imagine what
that did to my brain? When I found that out,
it blew my mind. Martin Simpson has this
great book about surnames, and it says that
the Hawley name was common in South
Yorkshire and may principally derive from a
lost place near Sheffield named Hawley the
lost place is Hollow Meadows. I dont know
about you, but I think its a damn fine place
to start writing a fucking record.
Richard Hawleys Hollow Meadows is out on
September 11 via Parlophone.
www.richardhawley.co.uk
september 2015 acoustic magazine 39
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gear Taylor 214ce DLX

42 acoustic magazine september 2015


Crafter
DGXE Rose
Crafter has certainly hit this guitar with the abalone stick, but is all that glitters
gold? Acoustic finds out
O
f all the brands who have
revolutionised the quality of
affordable guitars, Crafter
are among the most notable;
where once anything less than about 400
would buy you an unplayable warped
necked monster with an action you could
drive a bus under, you can now get good,
playable instrument for prices ordinary
people can afford and along with the
likes of Tanglewood, Vintage and Simon
& Patrick, Crafter has been a big part of
that. The name hasnt been famous here
for long, but the company has been trading
with a good reputation in the South Korean
market since 1972, initially under the name
Sunguem, and now over 60,000 guitars
emerge blinking into the South East Asian
sunlight. Most of them can be considered
excellent budget instruments, but at over
1,000, this one demands to be considered
among a higher class.
Lets not mince words here; this guitar is
covered in bling. Its shiny, sparkly, in your
face and ostentatious, and if understated
is your thing, well honey, this aint it. The
German spruce top has perhaps the most
cross silking weve ever seen, and with the
high gloss finish, it veritably sparkles. The
top is bound with rosewood, and features
a broad band of abalone purfling. The back
and sides, which are of rosewood, feature
coachlining and a centre stripe. Even the
rosewood bridge has been dipped in the
abalone pot, with little motifs and abalone
heads to the bridge pins. The key features
are the soundhole and the neck; the former,
which Crafter describes as a ring of fire,
features abalone flames inlaid into the
rosewood, and while intended to continue
1,099 Crafter DGXE Rose review
WORDS: sam wise IMAGES: richard ecclestone
the dragon motif, could just as easily adorn
an old school hot-rod. The mahogany neck
has a rosewood fingerboard which, rather
than being bound, has a pinstripe of pale
wood set in from the edge, and perhaps
more notably, an enormous dragon snaking
his way up, presumably having eaten the
tree of life which was their previously.
The peghead, which proudly wears a set
of Gotoh tuners, is emblazoned with yet
more abalone above the standard Crafter
logo. In short, its hard to think of a place
Crafter could have decorated with abalone
which they havent; this is a guitar which
demands your attention. Its also very
nicely put together; perfectly dressed frets
and immaculately executed inlays are the
order of the day here.
A sniff of the soundhole, rather
than the more usual woody waft or
overpowering glue stench, smells rather
like the electronics workshops my dad
At least here, used to haunt as a younger man; perhaps
this is explained by the L.R. Baggs LR-T
the presence Premium rig, which features their Element
undersaddle pickup, a soundboard sensor
of Solomons pickup, and a head unit with all the bells
and whistles (providing bells and whistles
entire beyond a tuner, three-band EQ, presence
control, phase shift and notch filter have
storehouse of not been quietly invented; it doesnt make
tea for you or anything).
abalone gets Overall, the looks are love it or hate
it; for all our appreciation of glittering
your attention. Nashville beauties, this was almost too in-
your-face for our liking. It certainly needs
Try it youll to be good to live up to the price tag, the
decor and the electronics.
be surprised. Thankfully it is really good. Crafter has
made their reputation through guitars
september 2015 acoustic magazine 43
review Crafter DGXE Rose 1,099

Its shiny, sparkly, in

your face and ostentatious
if understated is your thing,
well, this aint it.

Crafter DGXE Rose

need to know
Manufacturer: Crafter
Model: DGXE-ROSE
Retail Price: 1,099
Body Size: Grand auditorium
Made In: Korea
Top: German spruce
Back and Sides: Solid rosewood
Neck: Mahogany
Fingerboard: Ebony
Frets: 20
Tuners: Gotoh
Nut Width: 45mm
Scale Length: 650mm
Onboard Electronics: L.R. Baggs Element
undersaddle
Strings Fitted: DAddario EXP-26
Gig Bag/Case Included: Padded / hard bag The grand auditorium shape is small enough to be You have to truly love abalone. And flames. And dragons.
accessible and the slightly wider neck and string spacing And did we mention abalone? But that aside, this is a
Acoustic test results great guitar with some tones to scare the big boys.
at the nut make it a pickers delight.
Pros: Fabulous tone, really high build quality.
Cons: You have to truly love abalone. And flames.
And dragons. And did we mention abalone?
Overall: Incredible value for money but, as you can
see, its dressed up like a rhinestone cowboy.
Acoustic Rating
Sound Quality:
Build Quality:
Value for Money:
5 Stars: Superb, almost faultless.
4 Stars: Excellent, hard to beat.
3 Stars: Good, covers all bases well.
2 or 1 Stars: Below average, poor.
Contact Details:
Crafter Guitars UK
www.crafterguitars.uk.com You cant ignore the looks of this guitar; if you love it,
you really love it, and if you dont, you probably wont go
near it.

44 acoustic magazine september 2015

045.indd 45 17/08/2015 16:01
review Crafter DGXE Rose 1,099
Theres an indescribable
quality to the tone; it feels
three dimensional in a way
most guitars can only aspire to.
Crafter describes the soundhole as a ring of fire with
abalone flames inlaid, and while intended to continue the
dragon motif, it could easily adorn an old school hot-rod.
which scare the living daylights out of
things three times their price, and tonally,
this will do the same thing to much more
expensive guitars. The grand auditorium
shape is small enough to be accessible
(though your reviewers status as a
registered gorilla hybrid may render this
advice moot for smaller players), and the
slightly wider neck and string spacing at
the nut make it a pickers delight. Spruce
and rosewood guitars are supposed to
sound a certain way, and this one really
does; its wonderful. Played gently, the top
end shimmers and glistens wonderfully
with a crystalline brightness that never
strays into shrill or glassy. The midrange
and bass are as you would expect: focussed
46 acoustic magazine september 2015
Plugging in reveals that the L.R. Baggs, while not quite in the
league of some of the really fancy systems, does a solid job,
reproducing the tone capably and recognisably.
and tight, with plenty of projection and
power. String-to-string balance is perfect;
you can do what you like and nothing
shouts unpleasantly unless you make a
horrible mistake. Dig in a bit more, and
the bottom end almost seems to tighten up
even more; theres not much you can do to
overdrive the top of this guitar, and it stayed
clear avoiding muddiness even when played
really hard. Theres an indescribable quality
to the tone; it just feels three dimensional
in a way most guitars can only aspire to.
Even palm muted, the tone is characterful
and alive. Plugging in reveals that the L.R.
Baggs, while not quite in the league of
some of the really fancy systems, does a
solid job, reproducing the tone capably and
The midrange and bass are as you would expect; focussed
and tight, with plenty of projection and power. The string-to-
string balance is perfect, too.
recognisably, with the notch filter ensuring
feeback stays under control even at some
pretty high volumes.
You cant ignore the looks of this guitar;
if you love it, you really love it, and if
you dont, you probably wont go near it.
Thats a shame for those who dont love it,
because its a really fine instrument tonally
good enough to win out over some guitars
costing three times as much. If there was
a version with a good deal less bling, and
presumably a lower price tag to match, it
would be a category killer, but would you
even pick it up? At least here, the presence
of Solomons entire storehouse of abalone
gets your attention. Try it if you dont,
youre missing out. n
047.indd 47 17/08/2015 16:01
gear Taylor 214ce DLX

48 acoustic magazine september 2015


Capek
F5 Mandolin Should you get out your chequebook for a mandolin
that aims to put class before crass? Acoustic finds out...
T
hose of you out there who keep up
with relatively obscure names in
the guitar-making world may well
already be aware of Rosta Capek, a
luthier based in the Czech Republic that has
been enjoying an ever-increasing reputation
for banjos and mandolins. Looking at the price
tag, youd be forgiven for thinking that were
dealing with a top-of-the-line example in the
F5, but in truth this is considered the most basic
model in the range! Now, while were clearly
dealing with a luthier-built instrument here
and not a factory-processed clone, the modern
guitar market is a damn competitive place,
even among more niche instruments like
mandolins. As such, there are plenty of options
available to cash-rich musos looking for their
tiny eight-string fix, and there lies the challenge
for independent luthiers looking to (quite
literally) carve themselves a piece of the market.
If Im being brutally honest, the F5 didnt
make the best first impression on me. After
reviewing the Lewis mandolin last issue which
offers a veritable feast of different tonewoods
at less than half the price of the Capek the
F5 seems a little, well, dull. Theres nothing
especially good about the finishing for a start
(in fact I could argue that the area around the
neck was a little scruffy) yes, its nitrocellulose,
but once again this is a feature seen on many
mandolins much more reasonable in price. The
sunburst finish has been applied as well as you
would expect but the flamed maple doesnt
possess a strong enough grain to set your world
alight, and most of the other adornments are
fairly plain save for the lovely scroll and
florentine cutaway(s).
However, what is absolutely wonderful is
the quality of the woodwork. A cursory glance
reveals a detailed, sculpted construction and
WORDS: alun lower IMAGES: richard ecclestone
a closer inspection makes this even more
apparent. The work on the scroll carving is
nothing short of magnificent and its this kind of
detail that makes you realise youre dealing with
something thats been lovingly crafted rather
than simply manufactured. This is undoubtedly
a well-made instrument. But on aesthetics and
finishing quality alone, Im not sure it justifies a
2,000-plus price tag.
Partnering the spruce and flamed maple
body is a flamed maple neck topped with
ebony well finished for the most part but a
little bit messy where it meets the body. Not
from a wood carving point of view, but simply
a case of the finish leaving some imperfections.
The headstock, as with the body, is beautifully
carved and features a fetching ebony veneer
on either side an attractive touch. The
ivoroid binding is clean and well-applied,
2,299 Capek F5 Mandolin review
and following the strings down to the bridge
reveals an ebony bridge and engraved brass
tailpiece. It all makes for a very traditional,
violin-like vibe, which feels eminently classy
if thats the kind of thing youre looking
for. However, at this stage Im not getting
a luthier-built level of excitement from
the build alone, and thats a little worrying.
Theres nothing wrong, exactly intonation
is spot on, fret finishing is good and its not
an unattractive instrument by any means (in
fact, I generally prefer my guitars simple in
appearance), but theres just not any x-factor
to be had and when youre investing this
much money, that becomes an issue.
Despite reservations about elements of the
F5s looks, one thing that you simply cant
argue with is the quality of the tones on offer.
From the first strum, this mandolin simply
shimmers and shines, the notes ringing
out with crystal clarity and almost harp-
like harmonics, to my ear. Where I would
normally like to run out some faster, folky
licks when trying out a mandolin for the first
time, with the F5 I was much happier to just
sit back and slowly ring out a few chords,
listening intently to the way the sustain and
note decay interacted with each other. I was
a little concerned that the spruce and flamed
maple combo would sound a little too bright
or possibly even brittle for my tastes, but the
Capek sounds much more mature and ready-
to-go than I expected. Having said that, I think
that once the tonewods have had time to settle
and open up with some earnest playtime, the
tone should improve even further and offer up
even more depth and detail.
Rosta Capek is clearly a very talented
luthier the quality of the woodwork seen
here and the intricate shaping of the body in
september 2015 acoustic magazine 49
review Capek F5 Mandolin 2,299

The design and woodwork

of the body is exceptional and
so are the tones.
Capek F5 Mandolin
need to know
Manufacturer: Capek
Model: Capek F5
Retail Price: 1,242
Body Style: F5
Made In: Czech Republic
Top: Solid spruce
Back and Sides: Solid curly/flamed maple
Neck: Maple
Fingerboard: Ebony
Frets: 22
Tuners: Open back Schaller with white buttons
Onboard Electronics: No
Strings Fitted: High quality USA-made
Gig Bag/Case Included: Deluxe hardshell
Acoustic test results
Pros: The tones on offer with this Capek mandolin
The work on the scroll carving is magnificent and its The F5 feels like an instrument that wont ever let you
are marvellous and for the serious mandolin tone this kind of detail that makes you realise youre dealing down if you play or record professionally it practically
fiend, this is a great instrument. with something thats been lovingly crafted. sings of its own accord.
Cons: I felt conflicted by the untidy gloss in some
places and the package lacking that extra bit of particular are proof of that, without a doubt. practically sings of its own accord and this
oomph needed to justify the price tag. What I personally have a bit of an issue with kind of quality starts to make the price tag look
Overall: If youre looking for great tone from a just how basic the package is. Im not asking for that much more reasonable. Elsewhere, the
great luthier, this is for you just make sure youre anything ostentatious, but if youre going to intonation, tuning stability and quality of fret
credit card is handy. have an instrument made from flamed maple finishing is very good indeed and, as such, the
Acoustic Rating priced at over 2,000 then I would expect F5 feels like an instrument that wont ever let
Sound Quality: a bit more. Simple and stripped back can be you down if you play or record professionally.
Build Quality: extremely classy and desirable when you get it All in all, the Capek F5 genuinely feels and
Value for Money: right, but I feel the F5 hasnt quite nailed it here. sounds like a special, handmade instrument
5 Stars: Superb, almost faultless. In addition, I found the gloss finish to be just when you play and hear it its just a shame
4 Stars: Excellent, hard to beat. ever so slightly untidy in a few places. Its not a it doesnt quite look the part while its doing
3 Stars: Good, covers all bases well. big issue but even small issues should not be it. Im sure there will be plenty of readers
2 or 1 Stars: Below average, poor. present on an instrument in this price range. out there who think Im totally off my rocker
Contact Details: Its not all doom and gloom through as here and absolutely adore every inch of this
The Music Room I said, the actual design and woodwork of mandolin and if thats you, then great!
www.themusicroom-online.co.uk the body is exceptional, and so are the tones. Theres a very good chance youll love the F5
Theres an awful lot of detail and character to even more when you actually sit down with
the F5s voice and this will only get better over one. For anyone else scratching their head and
time. If you have the opportunity to try before wondering what all the fuss is about, Id advise
you buy then just sit back with a few simple taking some extra precaution and testing
chords and let the mandolin do the talking it carefully before making a decision. n

50 acoustic magazine september 2015

051.indd 51 17/08/2015 16:02
052.indd 52 17/08/2015 16:04

TC Electronic
PolyTune Clip
Sleek, super stylish, and easy to use a forward-
thinking polyphonic clip-on tuner from TC becomes
this years gig bag essential.
WORDS: guy little IMAGES: richard ecclestone
I
love gadgets that make my life much
easier and I always check Ive got a clip-
on tuner around somewhere but the
problem is that theyve never been too
reliable and Ive almost always fallen back on
my pedalboard TC Tuner or even my iPhone!
There was just something about clip-on tuners
that I didnt get and they didnt get me.
Theres a great DAddario one, I must say, but
with TCs claim of their brand new PolyTune
Clip being the worlds first polyphonic clip-on
tuner, I was a more than a little intrigued.
I have the TC Electronic PolyTune poly-
chromatic pedal tuner on my board which
features a stunning display that lets you see all
six strings simultaneously and quickly tune the
ones that are sharp or flat. Given that TC already
had this technology to hand, I knew it was only
a matter of time before they would incorporate
that technology into a pocket-sized clip-on tuner.
TCs easy to read displays and polyphonic
functionality always provide tuning stability
literally and metaphorically. Like I say, Ive
always got one somewhere. Its reassuring to
see that same power right at the end of your
headstock the only thing Id add at this point is
swivel functionality. Its swinging
joint is fine, but a swivel would
better align it to you line of sight.
Having said this, TCs renowned
for evolving their product lines
quickly and so I would say we can
expect to see more refined versions
before the start of next year.
The packaging it arrived in is as slick
as the tuner itself. Sliding it out of the
white, small, simple packing fools you
into thinking you got this at an
Apple store.
Like the other TC PolyTune
models, the Clip will let you strum
all six strings and see which are
35 TC Electronic PolyTune Clip review
sharp or flat this will come in handy when
youre on stage and in a panic trying to find the
offending string. The PolyTune clip is fast and
accurate for both polyphonic and single-string
tuning and the clear display is a delight to
behold. It really is a lovely, trendy looking piece
of kit as is most stuff from TC. Id happily go
on record and say that this is the most elegant
headstock tuner on the market. Looks arent
everything though the PolyTune Clip delivers
whether youre tuning a baritone, an acoustic,
and whether youre dropping to C or up to
standard. I tried to catch it out, but I failed. A
simple and stunning piece of kit it is, with all
of the power youd get from the TC pedalboard
range. Another nice touch with this forward-
thinking clip-on is that it features an adaptive
readout display meaning that itll automatically
flip to the proper orientation no matter where
you decide to attach the padded clip. Plus, it
allows you to commit your favourite tuning
mode or pitch to its memory.
If thats not enough the strobe tuner in
PolyTune Clip has a +/- 0.02 cent accuracy
while the MonoPoly instantly recognises
whether you paly one or more strings with the
appropriate poly- or monophonic tuning
mode. It really is the holy trinity of
tuning: polyphonic letting you tune all
strings at once chromatic, and strobe
tuning modes. It supports flat tunings
and has a capo mode, too. Plus youll
get 18 hours usage via a standard
coin battery.
Theres no other tuner on the
market that does this much
for so little cash. The TC
PolyTune Clip is so much
more than a tuner its
a gig bag essential that
every guitarist must own.
www.tcelectronic.com
september 2015 acoustic magazine 53
gear Taylor 214ce DLX

App Extra

54 acoustic magazine september 2015

 499 Alvarez AG75CE review

Alvarez
AG75CE
The workhorse guitar of the Alvarez Artist series meets the eyes of Acoustics
reviewers but what is it, exactly, that attracts big-name players to the world of
Alvarez? Is it the R&D, the playability, the price? Or is it all of the aforementioned
WORDS: guy little IMAGES: richard ecclestone

A
lvarez guitars have been selection of Chinese-made guitars available
prominent fixtures in the acoustic that start at just under 200 and move up to
world since St. Louis Music the grander heights of the Masterworks series
established the brand in 1965. and the aforementioned Yairi line. Even the
Working with Japanese luthier Kazuo Yairi Masterworks series retail for under a grand,
(who latterly lent his name to the higher-end though, so theyre a brand clearly fascinated
Alvarez-Yairi instruments), Alvarez has long by great value for money.
balanced value-for-money and great playability Aesthetically, the Alvarez AG75CE is
both on stage and at home. Alvarez counts a real treat. It might be tipping the hat to
players such as Ani Di Franco, Monte Taylors most famous body shape (even the
Montgomery, Bob Weir, Joe Bonamassa, Zakk flat venetian cutaway is a little nod to Bob
Wylde, Steve Hackett, and Devin Townsend & Co. ), but the grand auditorium has some
among some of their players. They all have idiosyncratic flourishes that clearly mark this
reason to acknowledge the forethought that out as an Alvarez take the pickguard and
goes into the Alvarez brand. So, what musical bridge design for starters. The bridge itself
assignments will this set you up for? has a split-level construction to facilitate the
This is where we meet the Alvarez AG75CE optimal angle of the string rake over the saddle
from their Artist Series range and what a thus imparting a large amount of energy
workhouse all-rounder it is. The Alvarez Artist transfer into the guitars top. Likewise, the
Series is a comprehensive line of guitars that tapered wings of the bridge perform a similar
includes dreadnoughts, jumbos, 000s, classical, function but have a thicker mass than where
12-string, acoustic bass, and parlour models. the saddles are seated to impart energy to the
Many are available with built-in electronics,
some with cutaways, and all priced for the
What strikes respective bass and treble sides.
We have a wonderfully tight-grained piece
budget-conscious player.
Its with great pleasure we welcome these
you is the of solid Western red cedar for the top matched
with rosewood back and sides. Interestingly,
instruments here in the UK. Why so? Perhaps
its because the company carries such an elite
clarity of the the piece of rosewood used for the back of the
guitar is much darker than that used for the
list of affiliated players or maybe its because of
their research and development. Alternatively
guitars attack sides. Its so cleanly bookmatched that it could
almost be a single-piece back! Anyway, the
you could be equally switched on to their
surprising affordability but not least of all,
both when darker shade of rosewood used for the back is
a lovely contrast to not just the cedar for the
their catapulting array of sonic qualities.
Its safe to say that Alvarez is having a
fingerpicking soundboard but, too, for the sides. Cream ABS
neatly binds it together.
well-deserved renaissance after the American-
owned brand was reimagined in 2012. The
and using a Elsewhere, weve got a satin-finished,
mahogany neck (its profile has a gentle D cross
guitars are designed in the USA and built in
China yup, another! Theres a wide-ranging
plectrum. section which is substantial and at the same
time wholly comfortable); a rosewood-faced

september 2015 acoustic magazine 55

review Alvarez AG75CE 499

For the price, this guitar

is a clear no-brainer.
Its ease of control in live
situations is a real asset...

Alvarez AG75CE
need to know
Manufacturer: Alvarez
Model: AG75CE
Retail Price: 499
Body Size: Grand auditorium
Made In: China
Top: Solid western red cedar
Back and Sides: Rosewood
Neck: Mahogany
Fingerboard: Rosewood
Frets: 21
Tuners: Premium die cast
Nut Width: 44.45mm
Scale Length: 648mm
Onboard Electronics: B-Band SYS550
Strings Fitted: DAddario EXP
Gig Bag/Case Included: No
Acoustic test results The battery is locataed at the lower bout with a jack input The sound on offer is powerful and both the treble and bass
Pros: Well-made, solid top, great tonewoods, and and XLR input. The B-Band uses an under saddle pickup registers are clearly present and balanced in relation to
and the sound it reproduces is far from synthetic. each other with no tonal dynamics lost when you detune.
a slice of higher end beauty and tone without the
asking price.
Cons: Give us a case or bag with it! Tuners a little headstock and fingerboard; sparkling high- recording and playing live, but more on that
chunky and look a bit out of place here. gloss finish; tastefully understated abalone and later. Examined from inside and out, youd
Overall: A great sounding, well-made guitar mother-of-pearl inlays; bone nut and saddle struggle to find a flaw as the workmanship is
with performance in mind. The true definition and Alvarezs forward shifted scalloped X as clean as youd find on a guitar in a much
of workhorse. braces. Alvarez call the forward shifted X higher price bracket. Alavarez has decades
Acoustic Rating brace design the FSTM. Both the X braces of experience making guitars in Japan. This
Sound Quality: and asymmetric tone bars are scalloped, and knowledge has been effectively transferred
Build Quality: moving the system forward allows for a larger into this Chinese-made guitar. The neck
Value for Money: soundboard, which they have optimised with a stability and subsequent set-up is beautifully
5 Stars: Superb, almost faultless. solid maple bridge plate for both strength and well executed making the playing experience
4 Stars: Excellent, hard to beat. energy transference. a joy. But how does it sound?
3 Stars: Good, covers all bases well. Other than the slightly futuristic shape of Firstly, this guitar is made with performance
2 or 1 Stars: Below average, poor. the split-level bridge, and the inlaid twelfth and recording in mind. Weve got the SYS550
Contact Details: fret, the Alvarez is far from blingy its system onboard, designed by B-Band, which
Alvarez Guitars not made to be a showy guitar, remember, is a pro level EQ and pickup that really does
www.alvarezguitars.com this is a workhorse instrument designed for reproduce the sound of the guitar closely

56 acoustic magazine september 2015

057.indd 57 17/08/2015 16:05
review Alvarez AG75CE 499
Its a thoroughly well-
made guitar and its about
as close to definition workhorse
as you could get.
Firstly, this guitar is made with performance and
recording in mind. Weve got the SYS550 system
onboard, designed by B-Band,
with great clarity its effortless to use, too,
meaning that if youre in a tricky situation
on stage, youll be able to easily remedy any
outcome with this unit. The battery pack is
locataed at the lower bout with a standard
jack input and XLR input. The B-Band uses
an undersaddle pickup and the sound it
reproduces is far from synthetic. The SYS550
also has a backlit chromatic digital tuner along
with volume, notch, treble, bass, middle and
presence controls.
The sound on offer is powerful and both the
treble and bass registers are clearly present
and balanced in relation to each other with no
tonal dynamics lost when you detune or start to
move up to the higher echelons of the fretboard
58 acoustic magazine september 2015
Alvarez call the forward shifted X brace design the
FSTM. Both the X braces and asymmetric tone bars
are scalloped
granted by the cutaway. Its not as powerful as
its dreadnought cousins would be, of course,
butwhere its strength lies is in the clarity and
precision of the top-end frequencies. Its an
exciting and responsive guitar to play. Dig in
and it shouts right back at you, treat it gently
and itll whisper with the gentlest touch.
Alvarezs tops are hand selected from
quarter-sawn wood, thus ensuring consistent
quality and here the quality of the solid cedar
top comes to life with a piano-like ring and
sustain. To be honest, the tuners are a bit of
an eyesore (but theyre perfectly functional).
The Alvarez AG75CE has a strong voice
and is evenly responsive and resonant. It
rings out brightly and what strikes you
Youd struggle to find a flaw on this guitar as the
workmanship is as clean as youd find on an instrument
in a much higher price bracket.
is the clarity and evenness of the guitars
attack both when fingerpicking and using
a plectrum. The evenness of tone is a great
asset for recording duties.
For the price, this guitar is a clear no-
brainer. The performance mindset is matched
by its evenness of tone and ease of control in
live situations and the XLR input is a huge
plus for people hooking up to DI boxes. Its a
thoroughly well-made guitar with a good bit
of history behind the brand, and its about
as close to definition workhorse as you could
get. Theres a reason Joe Bonamassa takes an
Alvarez on tour with him and do you really
need more motive that that to check one out?
Thought not. n
059.indd 59 17/08/2015 16:06
gear Taylor 214ce DLX

App Extra

60 acoustic magazine september 2015

 400 Tanglewood Sundance Delta Historic review

Tanglewood
Sundance
Delta Historic
All-mahogany guitars are ten a penny these days, but where does the new
Tanglewood Sundance Delta fit into whats become a fiercely competitive
market? Acoustic has the answers
WORDS: guy little IMAGES: richard ecclestone

T
here have been lots of glowing unquestionably laminated mahogany (and that
Tanglewood reviews in recent issues shouldnt really matter these days anyway), but
of Acoustic offering great value for the top is all-solid mahogany and it seems to be
money in a crowded marketplace, a nice piece, indeed. It shows a lot of the woods
but the Sundance Delta is one with a fight on its figuring and is finished with a simple soundhole
hands. Its not only competing in a competitive rosette design matching that of the tops binding:
sub-500 marketplace, but its doing so in what fine black and white ABS. It looks elegant set
has almost become a sub niche of the acoustic off against the grain of the mahogany. The gloss
guitar world: all-mahogany guitars. In doing so, finish is applied perfectly, too, without so much
the Tanglewood puts itself up against rivals from as any unevenness on the top, back or the sides.
some of the biggest manufacturers on the planet No build up at the heel either good signs from
such as Martin and Taylor and not to mention stuff coming from China, then. That attention
the likes of Sigma and Faith, both latterly to detail is also evident in the playability of the
offering all-mahogany guitars for around the TW40, which is about as good as youll find on
500 mark. Better get the boxing gloves out any acoustic guitar in a similar price range. The
then, eh? neck is the usual comfortable but widish D shape
The Sundance Delta range has three models were used to on a lot of Tanglewood guitars
within it: the orchestra we have for review here and each fret on the rosewood fingerboard is
(TW40 O D), a slope-shouldered dreadnought, perfectly seated and dressed. The DAddario
and a parlour so right away, if an orchestra-
sized or folk-sized guitar isnt your thing,
This is a 12-54 gauge strings are set at a medium action
making the guitar comfortable to play, yet
theyll have you covered with one of the others.
This is another guitar designed in the UK and
well made, absolutely buzz- and rattle-free. A rosewood
bridge marks the end of the string length with
manufactured in China something we see a
lot now and manufacturers are keen to keep
dependable an ABS ivory compensated saddle in its midst
and six white string pins just behind.
away from guitar shaped object tags because
of its factory origin. The Tanglewood TW40 O
guitar for As this guitar has a solid mahogany top and
not a laminated one, the actual sound and
Ds body size is based on the classic Martin OM
guitars of the 30s and 40s and immediately feels
an amateur response of this guitar will improve over time.
Laminate tops tend not to change or mature in
welcome on your knee its a familiar size, with
familiar tonewoods, and hopefully that familiar
player on a tone, whereas solid tops will get better as the
years or even months pass. It does have
Tanglewood value for money. Lets find out
At this price, the back and sides are
budget. laminated back and sides to keep the price
down, but dont let that worry you some of the

september 2015 acoustic magazine 61

review Tanglewood Sundance Delta Historic 400

As this guitar has a

solid mahogany top and
not a laminated one, the
sound will improve over time.

Tanglewood
Sundance Delta Historic
need to know
Manufacturer: Tanglewood
Model: Sundance Delta Historic TW40 O D
Retail Price: 400
Body Size: Orchestra
Made In: China
Top: Solid mahogany
Back and Sides: Mahogany
Neck: Mahogany
Fingerboard: Rosewood
Frets: 20
Tuners: Enclosed chrome
Nut Width: 44.5mm
Scale Length: 650mm
Onboard Electronics: No
Strings Fitted: DAddario 12-53
Gig Bag/Case Included: No Aside from anything else, this guitar will look cooler the A rosewood bridge marks the end of the string length with
more road-worn it becomes so if this guitar is for you, an ABS ivory compensated saddle in its midst and six
Acoustic test results gig it and give it that character it deserves. white string pins just behind.
Pros: Good looks, solid top for under 500, and a
great reputation behind the brand.
Cons: No case, pickup or character to shout about. worlds finest jazz guitars often use laminate the midrange or muddying of bass notes. Its not
Overall: A well-made guitar from a reputable brand woods and the extra strength they offer can be loud by dreadnought standards, but by orchestra
with a history of delivering great value-for-money useful. In fact, sometimes the use of laminate guitar standards, it packs a punch. It can be
acoustics but do check out what else you can get for the back and sidescan tighten up the tone. If tamed with some delicate fingerstyle noodling,
at this particular price point first. all-mahogany guitars have a weakness, it tends but it will certainly cut through when you need
Acoustic Rating to be that they can sound somewhat soft, but it to overtake the mandolins or banjos. The
Sound Quality: this Tanglewood doesnt fall prey to that. This sound is clear, defined, and expressive dont
Build Quality: guitar is loud and punchy Ive got a hunch that be fooled into thinking all-hog guitars are only
Value for Money: the laminate is doing that. The guitar can sound warm or mellow (sure, some are, but get out and
5 Stars: Superb, almost faultless. a little brash when played with a pick, but wed try before you buy!).
4 Stars: Excellent, hard to beat. expect that side of its character to mellow out a One things clear with Tanglewood: they
3 Stars: Good, covers all bases well. bit as that solid top matures. are good guitars because they deliver all the
2 or 1 Stars: Below average, poor. The projection when picking or strumming is essentials of what constitutes a dependable,
Contact Details: great and drop down into alternate tunings like easy-playing and good-sounding workhorse
Tanglewood Guitars drop D and open G, and the tonal properties stick instrument. Theyre well-made and reward your
www.tanglewoodguitars.co.uk theres even definition without losing any of playing, yet at the same time are ones that you

62 acoustic magazine september 2015

063.indd 63 17/08/2015 17:23
review TanglewooD SunDance DelTa HiSToric 400
The body size is based
on the classic Martin OMs
of the 30s and 40s and so it
feels welcome on your knee.
one things clear with Tanglewood: they are good guitars
because they deliver all the essentials of what constitutes a
dependable, easy-playing and good-sounding instrument.
dont need to feel too precious about knocking or
taking down to the pub for the open mic. its not
going to win in a tonal shoot out with a martin
but not much would.
Details such as the second strap button and
the gloss finish top add to the guitars workhorse
appeal. While theres a second strap button at
the heel (alluding to live performance), theres no
pickup here. Perhaps thats something we could
see from tanglewood at a later date, but should
you need to put one in yourself, it wouldnt be
too much of a fuss.
so, the rivals can it stand up to them? on
tonal virtues alone, then yes. it does sound as
good as some others in a similar price range.
But can it stand up to them as a complete
64 acoustic magazine september 2015
while theres a second strap button at the heel (alluding
to live performance), theres no pickup here. Should you
need to put one in yourself, it wouldnt be much of a fuss.
package? not so much. tanglewood would need
a case and pickup included for that. thats not
to say it isnt a good guitar, because it is, but if
youve got around 400 500 to spend, you
could see yourself with all-solid, all-hog, case,
pickup and all so be sure that youve looked at
everything on offer. some cheaper tanglewood
models come with a case, so im unsure why
they wouldnt offer one here when all of their
rivals do. if that were the case and you can
excuse the pun then this guitar would be up
there as a great value for money package. its
also just a very good guitar it doesnt have
any big character to shout about. it struggles to
get away from the guitar shaped box aspect
mentioned earlier its a good one, sure but
if all-mahogany guitars have a weakness, it tends to be
that they can sound somewhat soft, but this Tanglewood
doesnt fall prey to that.
the guitar needs its own character to stand out.
a martin 000-15m has that all-hog character
and when you play it you just know its a martin
but, having said that, it costs a grand (unless
you search eBay and find one for around 600).
there is so much competition in this price
range and that makes it difficult to assertain
where to place value for money when you
can get other guitars with a case and pickup
for around the same amount of cash. What
this tanglewood is, though, is a well-made,
dependable guitar for an amateur player on a
budget. aside from anything else, this guitar
will look cooler the more road-worn it becomes
so if this guitar is for you, gig it and give it that
character it deserves.
065.indd 65 17/08/2015 16:07
gear Taylor 214ce DLX

App Extra

66 acoustic magazine september 2015


Avalon
L1-390CB
An Avalon from the upper echelons of the custom Celtic world in
Newtownards, Northern Ireland, sends us into a fingerstyle frenzy
T
here have many Avalon
Guitars featured within
these pages, and each one
of them has demonstrated
impeccable attention to detail and flawless
construction. The guitar we have here is
a custom shop model of the highest order
from their workshop in Newtownards,
Northern Ireland, and like every other
Avalon featured, it is immaculate in terms
of construction, finishing, and playability.
The Avalon L1-390CB is a bit of a
mouthful, but lets clear that up, shall we?
Their referencing system is based around
letters to denote the body size; the first
number is the soundboard, and the second
number is the back and sides tonewood.
Finally, the last letter(s) tells us what extra
features we have. So the letter L denotes a
jumbo body size, the 1 tells us that it has a
cedar top (Alaskan, since you ask), and the
390 means we have Ziricote back and sides.
The C is for the cutaway, and the B refers
to the bevel. Phew. The L1-390CB is from
Avalons Arc series which all feature a
bevel or two! It has to be noted, however,
that when ordering from Avalon, you will
have a degree of control over what features
to include if you dont like bevels, dont
order them. It really is as simple as that.
Firstly, with this being a custom model,
its not overly ostentatious. Yes, we have
some incredible abalone shell on the
soundhole rosette and binding, but other
than that, its a toned-down Avalon in
terms of looks when comparing it to some
weve previously featured (honestly, it is..).
It is still a pretty niche guitar, though, and
theres a certain player in mind after all,
it is a custom build! The guitar just screams
5,100 Avalon L1-390CB review
WORDS: Guy Little IMAGES: richard ecclestone
sheer class when you open the Hiscox case.
It really is something to behold and the
figuring on both the Ziricote and cedar is
a treat. I like the plain ebony fingerboard
just a Celtic triquetra inlayed in abalone at
the twelfth fret. Nice. Elsewhere, spec-wise,
theres an Ox bone nut and split saddle,
an ebony bridge with ebony pins, and a
largeish but quite flat mahogany neck
with some GoToh tuners topping it off.
The neck is a five-piece comprising
mahogany, sycamore and rosewood;
the fingerboard is ebony and bound
with bloodwood and sycamore and the
headstock is overlaid with rosewood over
a layer of sycamore. The neck has a unique
custom build option, too: it has Avalons
fingerstyle neck profile. This means it is
a little wider at the nut and splays wider
toward the body giving more separation
between the strings for the right hand.
The 47mm nut width is a custom option
The thats been requested on this review guitar,
but by way of contrast, Avalon offers
excellence two variations of the fingerstyle neck
a standard taper and a wide taper.The
of Avalon standard taper goes from 44mm at the nut
to 56mm at the fourteenth fret and the wide
instruments taper from 45mm to 60mm from nut to
fourteenth fret.
truly renders Then theres the bevel this is a bit of
a Marmite thing as some players seem to
you speechless. adore them, others not so much. Im in the
former camp its a lovely addition to this
The build Avalon and is beautifully inlaid with that
abalone with a kind of flick to the start of
quality is the bevel and where it ends; almost like the
flick of a paintbrush if it had been dipped in
flawless. abalone shell. Take a look at the pictures
youll see what I mean straight away.
september 2015 acoustic magazine 67
review Avalon L1-390CB 5,100

It really is something to
behold and the figuring
on both the Ziricote and
cedar is a treat.

Avalon L1-390CB
need to know
Manufacturer: Avalon
Model: L1-390CB
Retail Price: 5,100 (4,950 without a pickup)
Body Size: Jumbo
Made In: Northern Ireland
Top: Alaskan Cedar
Back and Sides: Ziricote
Neck: Mahogany
Fingerboard: Ebony
Frets: 20
Tuners: GoToh SG381
Nut Width: 47mm
Scale Length: 648mm
Onboard Electronics: Schatten HFN under bridge
Strings Fitted: High quality USA-made
Gig Bag/Case Included: Hiscox
Acoustic test results The neck has Avalons fingerstyle neck profile. This Theres a separation to the notes that makes it possible
means it is a little wider at the nut and splays wider to hear everything you play with equal clarity and the
Pros: Stunning build quality with tonal attributes sustain is great, too.
toward the body giving more string separation.
to die for and Avalons reputation is practically
second to none. The Ziricote party constitutes the high Avalon says that Ziricote has a unique
Cons: Some wont like that bevel, but its a custom price of this guitar, but look at that colour appearance, rarely mistaken for any other
build so if you dont want it, you can order without; spilling from rich, dark chocolate into an wood with its beautiful spiderwebbing
aside from that, the price will deter many. amber flash where bookmatched. If you patterns and thats apparent here. This
Overall: A wonderful guitar with plenty of Irish could eat it, Im sure itd be delicious. Theres Central American wood has a tone similar
charm for DADGAD musings and strumming alike. a second strap peg on this Avalon and it to Indian rosewood. The guitar hasnt long
Acoustic Rating has a pickup in there (youd never notice been off the bench, but the sound is warm
Sound Quality: it tucked away so neatly), so its clearly got and almost broken in the use of cedar for
Build Quality: performance in mind. The pickup fitted is the top will have something to do with this
Value for Money: the Schatten HFN under bridge system and as it has a shorter break-in time. The cedar
5 Stars: Superb, almost faultless. from our (separate) tests of this unit, its produces quite a warm tone when combined
4 Stars: Excellent, hard to beat. as close to the sound of a great quality mic with the Ziricote and it has a clean, fast
3 Stars: Good, covers all bases well. that youre likely to get in such a compact attack when picked.
2 or 1 Stars: Below average, poor. system. Anyway, this adds 150 to the The Avalon was happy in standard
Contact Details: price of this model brining it to a whopping tuning, but it really came to life when
Avalon Guitars 5,100 (the base model without a pickup will picked in DADGAD we even got it down
www.avalonguitars.com cost you 4,950). to open C tuning without a fuss. The tonal

68 acoustic magazine september 2015

069.indd 69 17/08/2015 16:08
review Avalon L1-390CB 5,100
The dynamic range is
stunning chord work to
fingerstyle chops are ably
catered for.
The cedar top produces quite a warm tone when combined
with the Ziricote back and sides and it has a clean, fast
attack when picked.
character is akin to that of a piano; its clear,
balanced, and articulate over all strings in
all places on the neck. The dynamic range
really is stunning everything from chord
work to fingerstyle chops are ably catered
for though its happy place is DADGAD, of
course, with no drop in sound quality along
the way.
Even after just a few open string chords,
you just know that this guitar has first
class tonal attributes. Theres a separation
to the notes that makes it possible to hear
everything you play with equal clarity and
the sustain is great. The harmonics seem to
be playing on another level. Singing out at
the twelfth fret in an otherworldly bloom of
sonic delight, they just ring and ring.
70 acoustic magazine september 2015
Theres a second strap peg on this Avalon, and it has
a pickup in there (youd never notice it tucked away so
neatly), so its clearly got performance in mind.
The bass response is great, too. After
some exploratory tunes played in DADGAD
and open C, the Avalon was drop tuned to
D and the guitar retained all its precision
of tone with the bass cutting through
enough without cluttering the midrange.
Admittedly, playing a guitar with your
fingers yields a sumptuous tone, but
played with a pick, chords just sing out
with a considerable amount of volume and
projection. Amazing crispness comes to life
with fingerstyle.
The excellence of Avalon instruments
truly renders you speechless. The build
quality of this guitar is of an incredibly high
standard and the fact that you can build in
your custom variations is an amazing asset
Avalon says that Ziricote has a unique appearance, rarely
mistaken for any other wood with its beautiful spider
webbing patterns and thats apparent here.
for anyone who is still seeking perfection
from an instrument.
I havent yet commented on value for
money. Clearly, at over 5,000, this guitar
isnt going to be an impulse purchase
(well, not for most of us, at least!), but with
handmade guitars from several other key
makers priced at over 6,000 (and still not
exorbitant compared to some US makers) the
Avalon looks like pretty reasonable value for
what youre getting. If youre in the market
for a top quality guitar in this price range,
Avalon guitars should be at the top of your
list. With consistent, stunning build quality,
idiosyncratic styling, superb playability and
tone by the barrow-load, I suspect youll fall
for that Irish charm, too. n
071.indd 71 17/08/2015 16:08
072.indd 72 17/08/2015 16:09
073.indd 73 17/08/2015 16:10
gear Taylor 214ce DLX

74 acoustic magazine september 2015

 339 LAG Tramontane T100ASCE review

LAG
Tramontane
T100ASCE
LAGs Tramontane auditorium acoustic has been on a diet, but is the tone
slimline too? Acoustic finds out

Words: Sam Wise Image: Richard Ecclestone

L
AG has been designing and making headstock, which has a nice carve to it, and
guitars in France since 1978. Like most wears a set of proprietary closed back tuners,
manufacturers, while they design black to match the deep darkness of the rest of
their instruments in France, the less the neck. The bridge, once again a LAG signature
expensive models are manufactured in the Far design, has a compensate graphite saddle, which
East, in this case China. we rarely see on other acoustics.
The T100ASCE is a slimline auditorium body Electronics-wise, the undersaddle pickup is
shape, clearly designed to be played plugged in paired with a Shadow-produced head unit that
most of the time, since when using the piezo, LAG call the StudioLAG Plus. This has a tuner,
the tone, always heavily dependent on the top, tone and volume controls, and an unusual EQ
has even less influence from the chamber of the preset control. It has five settings, all of them
body or the back and sides. Slimming down the analogue EQ rather than any kind of digital
guitar this way theoretically cuts down on the modelling. A 32-band studio EQ has been used
likelihood of feedback, but at the cost of acoustic to create an output boost, a mid cut, a jazz tone
tone and volume. with the treble rolled off, and more. Setting 0
The top here is red cedar, a relatively is the guitars natural tone with no effect from
unusual choice compared to the various types this control, and then there is a separate bypass
of spruce, known for its warm, rich tone. button which removes all the controls on the
All the Tramontane models have an elegant head unit from the signal path.
soundhole rosette, a sweeping asymmetric
mahogany shape which flatters the guitar a lot,
Its an Overall, the T100ASCE has quite a unique
look; you could consider some aspects of the
especially set against the richness of the cedar.
Top, back and sides are bound in mahogany
even more appearance quite electric guitar like, and
certainly the Tramontane series all stand
and maple, and classy it looks too, setting off
the sapele veneered laminate back and sides
impressive out from other identikit acoustics. For us, its
a successful look; it feels professional, and
in a luxurious fashion. The neck is of Khaya, a
tropical mahogany derivative, and is topped with
package luxurious without going overboard with bling.
The guitar is also impeccably put together, with
a rosewood fingerboard which seems to have a
very flat radius indeed. In fact, the neck has a
plugged in the binding, in particular, beautifully executed;
the T100ASCE will make you feel like the owner
real electric guitar feel, with its slim C section,
and broad heel. There are 20 chunky frets
than when it is of something a bit special.
Picking this up, we were expecting the
with no position markers. At the top, a graphite
nut signals the start of the LAG trademark
unplugged. unplugged sound to be thin and underpowered,
but the tone was, in fact, a pleasant surprise.

september 2015 acoustic magazine 75

review LAG Tramontane T100ASCE 339

This is a lot of guitar

for the money in many
different ways. Its a
handsome and unique looker.

LAG Tramontane T100ASCE

need to know
Manufacturer: LAG
Model: Tramontane T100ASCE
Retail Price: 339
Body Size: Slimline auditorium
Made In: China
Top: Solid western red cedar
Back and Sides: African sapele
Neck: Tropical khaya
Fingerboard: Indian rosewood
Frets: 20
Tuners: Gotoh
Nut Width: 43mm
Scale Length: 650mm
Onboard Electronics: StudioLag Plus
Strings Fitted: DAddario EXP
Gig Bag/Case Included: No
Acoustic test results The tone works well for fingerstyle, the warmth of the mids The undersaddle pickup is paired with a Shadow-produced
making pretty stuff very pleasant, and with a little more head unit that LAG call the StudioLAG Plus. This has a tuner,
Pros: Unique luxurious looks, great plugged-in tone sparkle on the top end than you might be expecting. tone and volume controls, and an unusual EQ preset control.
Cons: Theres a tiny compromise to the unplugged
tone, but were splitting hairs here.
Overall: A great stage and studio guitar which
doesnt disgrace itself at the kitchen table either.
Acoustic Rating
Sound Quality:
Build Quality:
Value for Money:
5 Stars: Superb, almost faultless.
4 Stars: Excellent, hard to beat.
3 Stars: Good, covers all bases well.
2 or 1 Stars: Below average, poor.
Contact Details:
LAG Guitars UK
(Distributed by Marshall Amplification)
uk.lagguitars.com Its probably a box that suits those who like the mellower
sound of cedar, but its a far better all-round package
than you will be expecting when you see the slim body.

76 acoustic magazine september 2015

077.indd 77 17/08/2015 16:11
review laG TramonTane T100aSce 339
Plugged in, its clear the
guitar is in its element;
the slim body is impressively
resistant to feedback.
if you want a great guitar that has all the plugged in
benefits of this body type, while avoiding almost all the
compromises, give the T100aSce a try.
the cedar top may be a contributor here;
the trademark warm, soft-edged trebles are
evident with a rich midrange and while the
bass doesnt have the depth you might expect
from a deeper bodied guitar, the impact is
minimal. in fact, the t100asce probably has
a fuller bass than some full depth guitars you
can find in this price range; just dont expect
it to sound like a deep-bodied mcPherson.
the tone works really well for fingerstyle,
the warmth of the mids making pretty stuff
very pleasant, and with a little more sparkle
on the top end than you might be expecting
from this topwood. Dig in, and theres plenty
of headroom despite the shallow body; cedar
has a reputation for sometimes muddying up
78 acoustic magazine september 2015
The guitar is impeccably put together, with the binding in
particular beautifully executed; the T100aSce will make
you feel like the owner of something a bit special.
when driven hard, but theres no evidence of
that here. in fact, the acoustic tone absolutely
defeated our expectations; we were assuming
that something clearly designed as a stage and
studio weapon would be severely compromised
when unplugged, but we wouldnt hesitate to
pick this guitar up at the kitchen table, a jam
session or anywhere else it wont embarrass
you, looks- and performance-wise.
Plugged in, its clear the guitar is in its element;
the slim body is impressively resistant to
feedback, and the eQ presets allow you to quickly
and easily dial in a tone you like. theyre not
needed though; the guitars tone is echoed pretty
effectively, with just a little extra piezo punch,
but even that feels in keeping with the guitars
The T100aSce probably has a fuller bass than some full
depth guitars you can find in this price range; just dont
expect it to sound like a deep-bodied mcPherson.
styling. all in all, its an even more impressive
package plugged in than when it is unplugged.
this is a lot of guitar for the money in many
ways. its a handsome and unique looker (not
unique among the tramontane range, but
certainly well differentiated from the crowd),
its predictably impressive plugged in, and
surprisingly good unplugged. its probably a
guitar that suits those who like the mellower
sound of cedar, but its a far better all-round
package than you will be expecting when
you see the slim body. so, if you want a great
guitar that has all the plugged in benefits of
this body type, while avoiding almost all the
compromises, give the t100asce a try its
likely to surprise you.
079.indd 79 17/08/2015 16:12
gear play it again

1942 C.F. Martin & Co.

herringbone D-28
For the inaugural feature from Kents Replay Acoustics, Tony Werneke starts
with an industry icon and a guitar by which all others are judged the pre-war
herringbone D-28 or the Holy Grail guitar

H
aving had the privilege of
handling a great number of
Martin and Gibson acoustics, its
clear that the herringbone D-28
is the king of the dreadnought and the guitar
that is, and always will be, emulated by past,
current and future guitar builders.
The dreadnought was born of a need for a
more powerful 14-fret instrument not only to
accompany large bands, but also as a stand-
alone instrument with power at the bass end
and with crystalline clarity something that
was an orchestra in itself. 1931 saw the birth
of the dreadnought under the C.F. Martin logo
and it has grown in popularity since to become
the most popular style of acoustic guitar ever
since. The first dreadnought guitars were
manufactured by Martin for the Oliver Ditson
Company, a publishing firm based in Boston.
The guitars werent sold with the Martin
name on them, but rather were marketed in
Boston and New York under the Oliver Ditson
brand name, beginning in 1916 so one can
trace the dreadnoughts history back 100
years in 2016!
That background lays the framework
for the pre-war D-28. It was built at a time
when commercial pressures were evident
as in any business, but were not the driving
force behind the decisions Martin made in
designing their guitars. During the pre-war
era, there was a purity to the art and a vision
at Martin to produce the best guitars that
they possibly could and of the finest materials
the earth could provide. This meant superb
tonewoods aged in a natural environment
for many years along with construction
features and dimensions that walked the
edge of viability. Martin created guitars in
this era that were thin, light and beautifully
shaped and braced. They aimed to produce the
thinnest bracing one could create yet still hold
the top together and use the finest tonewoods
available honed to the thinnest dimensions.
This brings us to the 1942 C.F. Martin & Co.
herringbone D-28.
We start with solid, straight-grained
luthiers choice Brazilian rosewood for the

80 acoustic magazine september 2015


rims and the two-piece back. A luscious nut-
brown pervades this guitar visually, giving it
the appearance of a ruddy, Georgian bureau
in colour eye candy, huh?
The top is of solid Adirondack red spruce
which would have been tap tested for sound
capability before being chosen for use and
theres a lovely, wide grain running to a
tighter pattern at the outside edges with
wafer thinness and scalloped bracing. The
bridgeplate is a thin and small maple example.
The back strip is the renowned zigzag
design and the inlay at the strap button is a
beautifully shaped tapered piece of cellulose.
The 25.4-inch scale, 14-fret neck is solid
mahogany with a carved volute at the
nut. It is mounted with a snowflake inlaid
ebony board, most likely covering an ebony
neck rod. (A 1940s example that I also
have is much heavier than this example
which bodes well for a steel T-bar rod in
that earlier example). The headstock has a
lovely thinness to it and sharp shoulders. It
is mounted with original Yoda-head open
back unmarked tuners with a 6:1 ratio. The
heel of the neck is a sculpted French heel
capped with a bit of white celluloid. From
a playing perspective, the radius is a true
C shape with a shallow profile which pulls
your hand into the neck, giving you an easy
and welcoming feel.
Everything about this guitar is thin and
The herringbone D-28 is the
king of the dreadnought and the
guitar that is, and always will
be, emulated by past, current
and future builders.
it all vibrates and reverberates in ways
nothing else does. We all love that feel in
the chest when your playing lights up a
guitar in your lap and this has that feeling in
spades because of its light construction and
venerable age.
The Adirondack top is bound with a
very fine and delicate herringbone inlay
that was imported from Germany and
ultimately disappeared from use after the
war until it was reintroduced with the
new Herringbone HD-28 in 1976, which
was the first time Martin looked back to
capture the essence of their earlier success.
The soundhole has the now-standard D-28
purfling and is accompanied by a lovely, ruby
red faux-tortoise teardrop pickguard and
slotted ebony bridge.
Now to the hard part: the sound. How
do you describe a guitar that is so complex
that it belies your experiences with acoustic
guitars? The herringbone does that and, once
played, changes your musical perspectives.
Having had the privilege of having four
of these guitars here at the gallery at one
time, I had the opportunity to play them
back to back and to have others play them
back to back. What I found out during that
exercise was an enlightening experience.
All of the guitars sounded different and
felt different but they were all better than
any other guitar Id played in my time doing
this. The depth of dimension, the complexity
of the harmonics and the willingness of the
rosewood all combine to create a voice that
will enrich your experience to the end of your
playing days. You will find a complexity that
you will never truly master and a haunting
sound that is often compared to only that of
a cathedral. The herringbone D-28 is a guitar
few will be able to afford, but one that all
should have the opportunity to play.
A client of mine was in the gallery one
day when a 1943 herringbone D-28 was here
and he spent around two hours noodling
around in the harmonics. Eventually he
stopped, obviously rather perplexed yet a
little sanguine. Looking at me, he uttered an
expletive that I wouldnt dare print, and at
which point he proceeded to the door and
left. Latterly, I received an email to tell me
that he was really upset because none of his
guitars at home would ever sound anything
like they once did after hearing the 42 D-28
and, trust me, he has some great guitars! It
took him around a month to push the bone
out of his head and to return to his stable
of stringed instruments with a forgiving
attitude. So, that is the power of the great
and deservedly celebrated C.F. Martin & Co.
herringbone D-28 the daddy of them all!
For more information on the 1942 C.F. Martin &
Co. D-28, visit the Replay Acoustics website.
www.replayacoustics.co.uk
september 2015 acoustic magazine 81
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083.indd 83 17/08/2015 16:14
feature workshop

THE

WORKSHOP
LINDA
MANZER

Linda Manzer, Larrive apprentice turned luthier extraordinaire, has cultivated a

reputation as one of the finest guitar builders on the planet, creating guitars for Pat
Metheny, Paul Simon, and Carlos Santana among others. Acoustic caught up with
the Canadian maker at the annual Sarzana Acoustic Guitar Meeting
WOrDS: sTEphEN BENNETT

W
hile acknowledging the
existence of the opposite sex
in his own inimitable way,
James Brown always insisted
that, this is a mans world. He probably wasnt
thinking about the Kalamazoo gals of the
early-1940s, who took on their conscripted mens
work during the us war years to produce what is
now recognised as gibsons greatest ever line of
banner headstock acoustics. no. James wasnt
thinking lutherie. and he clearly never met
Linda manzer who, alongside established female
star names like Kathy Wingert and prodigiously
talented up-and-comers, sharleen simmons and
fellow-canadian, Peggy White, makes some of the
worlds finest and most sought after six (and lets
not forget, forty-two) stringed instruments.
Acoustic met Linda far from her toronto home-
base in the sun-drenched, ultra-laid back setting
of the sarzana acoustic guitar meeting, just a
few (though in some ways a million) miles inland
from the fashion-mistake walnut tans and micro-
swimwear of the oh-so-chic tuscan Riviera. lot more to it than that, mind, and here, nursing a
the annual festival, organised by genial
padrone alessio ambrosi, takes place within the
towering stone walls of a wonderfully-preserved
medieval castle thats seen occupation by all
manner of princes, pirates and potentates down
the years. now, thankfully, the luthiers have it
held in peaceful alliance with some of the worlds
most renowned acoustic performers on the
courtyards fabulously dramatic outdoor stage.
Linda manzers hushed-tones reputation in
the guitar world is partly due to her 30-odd year
association with Pat metheny she built, among
many for him, that formidable mutant-beast,
the Pikasso (with its aforementioned, just-the-42
strings) which the jazz giant subsequently,
successfully, tamed into performing jaw-dropping
musical feats on both stage and record. theres a
cappuccino as a milanese bluegrass combo kicks
off down in the dried-up moat and the early axe-
invaders start to stream across the drawbridge (we
did say it was different), manzer begins the story
a few years earlier when she introduced canada
to the Beatles, in fact. Well her fifth grade
classmates, at least.
on her return from visiting family in england
as a child, Linda found herself one step ahead
of the mop-top wave, armed as she was with
a publicity photograph featuring, in amongst
all the teeth and hair, george Harrisons guitar,
complete with strangely alluring pointy bits. she

84 acoustic magazine september 2015


was smitten, both by the band and by that weird-
looking electric (were thinking 1963 Rickenbacker
360-12). As luck would have it, there was an old
acoustic lying around the house so the precocious
Ms. Manzer decided it needed some flash, Beatle-
esque modification. She cut off the back and most
of the sides (for that requisite, slim-line Fab-ness)
then added papier-mch horns and strung it
back up. Sadly, this radically ambitious redesign
concept did not prove a huge sonic success...
The first real notes of progress wouldnt sound
until a few years later when she found herself,
coming home from a Joni Mitchell concert, fired
with a new and dulcimer-shaped zeal. Like just
about every other young woman in Canada at the
time, Linda simply wanted to be Joni but, in what
she insists was a gift to music fans everywhere,
she was now determined what with such stiff
competition from the genuine Joni and with shop-
bought dulcimers running at around the $150
mark to swap singing for making.
Linda settled for a DIY kit instead and was soon,
aged about 14 by now, so blown away by having
created something with strings that, crude as it
was, actually worked, convinced that this was
where her musical future lay. Having outgrown
the limited scope of dulcimer design at art college,
Manzer needed to find an established guitar-
maker willing to take her on as an apprentice
and, almost inevitably (this was Toronto, after
all) she latched on to Jean-Claude Larrive.
Unfortunately, the renowned local guru soon
made it clear that he wasnt taking on any more
pesky kids (hed already put up with Grit Laskin
and that de Jonge guy) and he certainly wasnt
planning on letting a woman, God help us, loose
With a touching regard for the delicate
sensibilities of our UK readership, Linda
suggests part of her inspiration might
be down those childhood visits to her
mothers birthplace in Oxford, and in a few
essentials Canada couldnt provide, like
punting, reading the Beano and searching
crisp bags for the little blue salt-packet.
on all those expensive tools and bits of wood.
Linda freely admits that (aided by the female,
inside-job coercion of Mrs. Larrive) she pestered
Jean until he gave in and, in 1974, set her on the
path to guitar-building greatness.
Three and a half years later, though, Manzer
had already decided to go it alone, trading in
a fully-equipped, state-of-the-art workshop
for a bench and a few hand-tools. She insists,
even though it was difficult, it was a fantastic
experience, to go from being spoiled with all that
equipment to having to make do and problem-
solve with non-electrical tools. Shes convinced
that said problem-solving (as you go) is absolutely
fundamental throughout the process and to this
day, Linda listens as she works, eschewing the use
of power tools in favour of a painstaking, far more
intimate, hands-on connection. You feel and hear
september 2015 acoustic magazine 85
086.indd 86 17/08/2015 16:16

Its clear that Manzer is still very much in thrall to the potential
magic in whatever her next building project might be.
the wood as you work a chisel into it and get to
know how it sounds. With machines you lose all
that. And by preserving all that, she continues
to learn.
Starting out, Manzer had little notion of subtle,
build-influenced or tonewood-based nuance so
she focussed on developing, by hand and ear,
a sound that seemed to fit the players she was
inspired by, especially Bruce Cockburn and later,
most significantly, Pat Metheny. The first time she
saw Metheny play, she describes herself as being
transported to a new musical dimension and that
looking back, knowing whats happened since, it
was like a moment of destiny. And thats about
as cosmic as the refreshingly down-to-earth and
practical Manzer is ever likely to get. Its clear that,
after 35 years as friends and colleagues, something
did, indeed, happen. Metheny describes the
high intensity of on-stage improvisation and
performance as the heat of battle and its Linda
Manzer who arms him for the fray. He told her
he needed instruments that would never let him
down and has since paid her work the perfect
no-frills compliment: The best thing about Lindas
guitars is that I dont even think about them. They
always deliver and they dont get in-between me
and my musical ideas.
This career-break came about after a concert in
1982 when Linda sent Pat (via his roadie) a most
genteel invitation to her workshop for tea. It
was all on the off-chance but youthful optimism
swelled the faint hope that Pat might, one day,
call. Instead, Metheny sent his manager to bring
Linda backstage right there and then. This being
jazz, Canada, and civilised, they talked guitars.
And as she didnt have any of hers handy, Linda
went home, grabbed a couple for Pat to try out
and rest would be history if they werent still at
it, that is, all these years later. Their latest mind-
boggling concept in wood and wire wizardry is
set for its on-stage revelation later this year. Itll be
interesting, to say the least. A case of, we could
tell you what it is but and you know the rest.
workshop feature
And so the thought occurs that Linda
Manzers work presents an odd paradox; having
first introduced the wedge body-shape (to be
discussed in an upcoming review of The Manzer
six-string acoustic) for example, shes constantly
juggling radical new ideas and innovations while
retaining an almost monastically traditional
method of working. Alongside experimental
collaborations with design-mavericks like Ned
Steinberger (as we speak, and yes, it will probably
be headless) she continues to produce exquisite,
classically-proportioned arch-tops for the likes
of Julian Lage who, already quite the prodigy,
was playing his first Manzer at the age of 11. She
doesnt hold with boundaries or the confines of
accepted wisdom; best capturing her own quest
for perfection in the famous Will Rogers assertion
that, you have to go out on a limb because thats
where all the fruit is.
Its clear that Manzer is still very much in
thrall to the potential magic in whatever her next
building project might be. Its the same magic that
first sparked with the horned Beatle-hybrid
then fully caught fire on seeing Metheny walk
on stage to play First Circle holding the guitar
hes ever since called the Linda 6. She sees that
magic, too, in the work of others; Torontos David
Wren, in particular, and in her own current
workshop colleague, Peggy White, whose lovely
little Reesling acoustic caused something of a
sensation among even the most discerning of the
Sarzana acoustic cognoscenti.
With a touching regard for the delicate
sensibilities of our UK readership, Linda suggests
part of her inspiration might be down those
childhood visits to her mothers birthplace in
Oxford, and in a few essentials Canada couldnt
provide, like punting, reading the Beano and
searching crisp bags for the little blue salt-packet.
With that Milanese bluegrass drifting across
the moat of a fairy-tale castle, were happy to
believe anything.
www.manzer.com
september 2015 acoustic magazine 87
new music retune your ears

retune
yo u r
Presenting new, interesting or alternative musicians.
e a rs
Listen to something different, with Paul Strange.

JUST MILLIE
STYLE (INDIE FOLK)
Im a 20-year-old singer-songwriter, based
in Southampton. In 2012, I appeared in the
southern England area finals of Live and
Unsigned. It was a great experience for a young
artist and opened doors in the music industry.
My musics been described as indie folk, but
I dont fit into any particular genre. I use an
acoustic guitar, pedals to create harmonies and
an electronic kick drum to create the biggest
sound possible for a 5ft-tall person. My songs
are inspired by everyday life however, I do like
to make my writing abstract, as listeners can
put their own twist on it. On my new AA single,
Lanterns is a song about going against the
grain and standing up for what you believe in,
whereas Not OK [featured on a recent Acoustic
cover-mount CD] focuses on a sour subject but
manages to be upbeat and shine through with
positives. Im self-taught, but Ive had help along
ADAM JOHANSSON the way, and as I work with other artists Im
STYLE (NORDIC FOLK) constantly picking up new tips. I prefer to play
I live near Stde in Sweden and Im the guitarist with the modern Scandinavian folk band Sver. The fingerstyle, but if Im gigging on a daily basis
other members are Olav Luksengrd Mjelva (fiddle and Hardanger fiddle), Anders Hall (fiddle and it starts to wear down my fingernails, so pick
viola), Leif Ingvar Ranien (two-row diatonic accordion) and Jens Linell (percussion). Olav and Leif it is. My regular guitar is a Gibson Songwriter
Ingvar, who started the band, are from Rros in Norway, and sver means big and grandiose in their DLX Custom EC 2012 vintage sunburst. It has
local dialect. Were very happy with how our latest album Fryd turned out. Its been a while since the an amazing deep tone that I love. I always DI
last one and we were all excited to get back to arranging new tunes. Fryd means joy, and that pretty via the PA, then further enhance the bass using
much sums it up the joy of playing together is why we keep going. At the moment Im playing a a Boss octave pedal and Boss Digital Reverb
Furch Vintage Line 34-SR spruce top dreadnought with an L.R. Baggs M1 pickup and a Radial J48 pedals to keep the tone as realistic as possible.
DI. It responds so well, I can mash the strings as hard as I want and the guitar just keeps singing, Confidence with using effects on stage has
great thick bass and shimmering treble its amazing. I do use effects pedals: a Sonic Research Turbo really enhanced my performance. I always have
Tuner, a BBE Opto Stomp and an Electro-Harmonix POG2 or Electro-Harmonix Memory Toy. I my acoustic in writing sessions I normally
use the POG on big stages where the sub-bass can come through, and the Memory Toy for smaller start with the melody on the guitar and then go
venues, just to thicken the sound with a really short delay. I play almost exclusively in DADGAD, for the lyrics. A song can come together all at
mostly pick, but a little fingerstyle now and then. I had guitar lessons when I was growing up, and once or be built over months theres no secret
played along with CDs Eric Clapton, Stevie Ray Vaughan, Robben Ford, Pat Metheny and many formula for me. Future plans? Im about to jump
others and radio a lot as well. Right now Bryan Sutton is a great hero of mine. He plays so clearly, back into the studio to record a new single, and
all the notes really come through. Sver played the Orkney Festival in May, and love the UK, so we Im appearing at ButserFest on September 12,
hope to come back some time soon. Meanwhile, well be touring Norway and Sweden in September and Fratton Community Park in Portsmouth on
and rehearsing more, so it wont take as long between albums this time. September 20.
www.sverfolk.com/en www.justmillie.co.uk

88 acoustic magazine september 2015

BETHAN EDWARDS
STYLE (COUNTRY POP)
Im the lead singer of West Midlands-based
band Bethan and the Morgans. I play guitar
and ukulele, with David Ross on lead guitar and
backing vocals, Lauren Bennett on double bass
and backing vocals, James Rhodes on electric
guitar, and Dan Foster on drums. We like to
describe our music as country pop, but our
musical backgrounds are very different. Lauren
is all-out classical and David was all about funk,
so our influences are very broad. David taught
me guitar thats how we met and decided
to start the band. My regular instrument is a
Taylor 114 Grand Auditorium with a Takamine
Tri-Ax pickup. Its a light wood on the front
with dark wood for the body and neck. It has
a light, open sound that mixes well with my
voice, and it sounds nice both acoustically and
amplified we normally run it through a DI
box. For strumming I use a pick, but for more
melodic picking I use my fingers. David and I
write the basis of our songs he shows me his
opening ideas on the acoustic and they develop
from there. I write most of the lyrics and he
writes the music, then everyone adds their
own parts. I think thats part of what makes
our sound so individual. Our songs are inspired
by events in our lives, which I think helps keep
them authentic as long as our lives dont get
too dull well always have something to write
about. Weve recently released our debut album,
Oddity. Were extremely happy with it, and the
feedback has been very positive. The title track
encapsulates the theme of the album, which is
about considering yourself an oddity because
you dont follow the crowd. We consider
ourselves an oddity in terms of personalities
and the sort of music we play, and we want
to celebrate that. Were currently working
on putting our album out there, writing new
material, and gigging.
www.bethanandthemorgans.com
NIGEL HOYLE
STYLE (SINGER-SONGWRITER)
GentleFolk is a British acoustic folk band,
based in south-east London. We are Elizabeth
Forrester (shruti box and vocal), Sarah Lloyd
(fiddle and vocal), Ian Kennedy (cello, recorder,
flute, giant tin whistle, bodhran and voice) and
myself (acoustic guitar and vocal). Id describe
what we play as pastoral music, songs about
folk tales and practices of these islands. Our
new album Into The Greenwood focuses on the
folklore of the native trees of Britain. The title
track is about Cernunnos, the stag-headed god
of the hunt. Its a paean to running through
the woods without a care in the world, chasing
goodness knows what. We recorded the whole
album in a day, and the most memorable
moment was when we wrapped and I realised
wed managed to do it. A great sounding
acoustic makes writing easier. Im a Gibson man,
and the primary guitar on this record is a 1973
J-55 square shoulder dreadnought with an L.R.
Baggs pickup. I play it through an AER Compact
60, which is amazing. Its not the easiest guitar
to play, but very rewarding when it sings out
it looks great and keeps in tune. I string it
with light Elixirs and tune it up to open A. This
tuning isnt recommended for most guitars, as
it needs extra tension on the neck to sing, but
the J-55 is over-engineered. I also have a 2007
J-200 studio with a sitka top and curly maple
back and sides for normal tuning and a 1963
Country Western for DADGAD and normal.
I practice every day, mostly fingerstyle. I use a
thumbpick and fingerpicks a lot while practising
to conserve my nails. I have weak nails and like
to save them for gigs. I tried going to nail bars
for a while but it is very embarrassing getting
fake nails. Im currently writing for a new
GentleFolk album about the folk identity of the
British Isles and we have a couple of gigs coming
up in September.
www.gentlefolkband.com
september 2015 acoustic magazine 89
new music cd reviews
WE BANJO 3
Live In Galway
www.webanjo3.com
Fusing the music of North Carolina with North Sligo, on this
showing recorded at The Roisin Dubh, Galway take no prisoners.
From Eric Bibbs Get Onboard featuring the dueling banjos of
Enda Scahill and Martin Howley, this live opus kicks like fury.
Theres nothing new in this of course but where We Banjo 3
score is their eclectic choice of material. And so Bill Monroes
bluegrass epic Salt Creek is wedded seamlessly to The Bunch
Of Green Rushes, New York bluesman Guy Davis gets a look in
when the guys carry off his We All Need More Kindness In This
World, and even the perennial doomy Long Black Veil is given
a new lease of life. JP
MAWKIN
The Ties That Bind
www.mawkin.com
Nothing complicated about Mawkin, instead an admission
theres nothing deep about their music, and a warning against
self-inflicted harm while dancing in the kitchen. With the focus
on rebellion and rejection of being tied to someone or something,
from the opening sonorous drone of Nick Cookes melodeon on the
wonderful boozing anthem I Can Hew, this is an unapologetic
blast of fun. But therere more serious topics too Wreckers plucking the harp through its paces, on tunes as varied
and even an anti-shanty song, the bouncing Shanghai
Brown, which extols the virtues of a Jack Tar staying at home
with his wife rather than as they put it, gallivanting around the
world shagging pretty young maidens. Seriously entertaining. JP
90 acoustic magazine september 2015
SHOOGLENIFTY
The Untied Knot
www.shooglenifty.com
Shooglenifty has been out there for more than two decades
now peddling a transmuted blend of Scottish Celtic magic with
electronica and rock. It says much for their creativity that theyre
still capable with coming up with an album like this one that
transforms jaded preconceptions and dares the listener to yawn
at this being just another Celtic band. Look no further than
The Untied Knot, a fantastic journey that begins with deep
resonant bass slurs, before a dizzy rush of pipes and clattering
banjo. Other highlights include The Highway Carpark, a kind of
funked up jig complete with a Hank Marvin-esque guitar intro,
and the beguiling Arms Of Sleep. Beautiful inspired music. JP
ROBIN HUW BOWEN
The Language Of The Soul
www.teires.com
As the only full-time professional exponent of the Welsh
triple harp (as his website makes the claim), it figures
that Robin Huw Bowen will be about as good as it gets
on this bewildering instrument. And so it proves to be.
Traditionally associated with mournful lasses with golden
tresses, Robin knocks such notions firmly into touch,
as the bouncing jig of New Gypsy Hornpipes and the
rippling cascades of notes that conjure the haunting air
of The Blackbird. Music that is totally mesmerising
and a thing of rare beauty. JP
JOSHTAERK
Heres To Change
www.joshtaerk.com
As youd expect from a singer whos been given a helping
hand up bythe E Street Bands drummer, theres a grandiose
eloquence to much of what follows. Hook packed, big
arrangements, chiming guitars and distant Hammond organ
lines decorate Joshs songs, but its his vocals and acoustic
guitar playing that hold it together. And hes got one of those
great voices, almost cracking with emotion as he exhorts his girl
to take a chance with me you almost expect Clarence to burst
into the mix. That said, the gentle folky ambience of Stay with
its weeping fiddle, suggests theres a lot more to Josh Taerk than
some kind of Canadian Bruce clone a guy to watch. JP
Darrell Scott
Songs of Ben Bullington
www.darrellscott.com
Nashville recording artists are known for a lot of things, but
generosity doesnt come up every time. Here, Darrell Scott
covers 10 songs by deceased friend Ben Bullington, better
known as a doctor, but also a formidable songwriter. Almost
all simple guitar, banjo or piano and vocal arrangements
are played live and not-overdubbed; these are touching,
moving and beautiful songs which deserved the audience
Scott can hopefully give them Springsteens Nebraska is
a reasonable comparison. A particular standout is Country
Music Im Talking To You, with Bullington railing against the
darkness and ignorance he sees in his native art form. SW
THE RAILSPLITTERS
The Faster It Goes
www.therailsplitters.com
Railsplitting cant be easy and theres probably no way youre
going to dislike a band with a banjo player named Dusty Rider.
And this Colorado five-piece dish up folky bluegrass music, the
beguiling gentle vocals of Christine King to the forefront that is so
easy on the ear, youll probably be hearing it in a dentists office
near you soon. Most of the songs like You drift happily along
never breaking sweat, and even when the band get down with
an instrumental The Estuary the comatose ambience and
limpid pace rarely shift. Things get marginally more uptempo
on the jiggy Goosetown, but by the time we get to Tell Me,
yet another slow ballad, its all just too much. Sorry Dusty. JP
Madisen Ward & the
Mama Bear
Skeleton Crew
www.madisenwardandthemamabear.com
Mother and son duo Madisen and Ruth Ward play a hard to
categorise blend of folk music, with hints of New Orleans
stomp, country, and indefinable somethings (they call it
soulful, and thats not far off). Acoustic guitars, stomping
crashing drum kit and vocal harmonies predominate, but just
when you think youve found your feet, they change it up, and
suddenly were in territory somewhere between Anthony and
the Johnsons and Jeff Buckley. They are making what we think
of as outsider music, and very good it is too. SW
GIGSPANNER
Layers Of Ages
www.gigspanner.com
Peter Knight and his lads have been touring like fury and,
currently, the UKs folk music scene is in an interesting
period of transition; like the 60s blues boom which ultimately
imploded into a maelstrom of progressive bands and
redundant Marshall amps, the folkies are looking to
rejuvenate their oeuvre, with bands like Gigspanner at the
forefront. And this bunch does well. The dark tale of Bows Of
London, a macabre yarn about fashioning instruments from a Everything and Black Fly on which Jennifer frails banjo, with
womans bones, and the eight minutes and 20 seconds of She
Moved Through The Fair, are tracks that bristle with intrigue slide guitar on the mournful Torch. Heartfelt and personal,
and imagination, almost defying the listener to turn away.JP
Elliott Morris
It Seemed to Make Sense at the Time
www.elliottmorris.co.uk
Elliott Morris has garnered praise from many quarters in his
short life thus far for his many live performances around
the UK and Europe (and at notable guitar festivals) and for
his debut EP and it looks as though his new EP It Seemed
To Make Sense at the Time is set to continue the pattern.
Complex tapping and percussive style guitar technique
blends here with Morriss surprisingly mature voice for a
tone which has hints of many other songwriters, and maybe
the risk here is that a really memorable voice of his own has
yet to emerge. This album is pleasant and listenable, and
promises much for the future. SW
JENNIFER CROOK
Carnforth Station
www.jennifercrook.com
Inspiration comes in many guises and if youve ever been
there, youll realise that Carnforth station would be pretty
far out of most creative loops. But built around Ms. Crooks
delicate harp work and wistful vocals, the station that became
immortalised in Brief Encounter once again becomes a setting
for a failed romantic liaison. An album of surprises, the mood
shifts seamlessly into the country honk of Ive Forgotten
Kevin Brown adding some suitably saturnine Weissenborn
not an uplifting ride but the girls done herself proud. JP
Telling The Bees
Steer By The Stars
www.tellingthebees.co.uk
Former Celtarabia alumnus Andy Letchers latest project
is Telling The Bees, a dark, folky, eclectic ensemble,
thats hard to categorise. There is some fine playing on
this album, and there are times when it really works
and starts to take you somewhere new. Often, though,
Letchers songs dont provide enough of a platform for
the virtuosity to really catch fire, and Steer By The
Stars sometimes becomes a little muddy and hard
to engage with. Worth a listen though, if only for the
unusual use of anglo concertina and complicated
arrangements. SW
september 2015 acoustic magazine 91
new music cd reviews
Whitehorse
Leave No Bridge Unburned
www.whitehorsemusic.ca
Whitehorse are former successful solo artists and
Canadian husband and wife duo Melissa McLelland and
Luke Doucet and their third album is a sparse, taut,
suspenseful masterpiece. Atmospheric shimmering guitars
overlay dark, thumping bass lines as McLelland and
Doucet spread their harmonies over songs which wouldnt
sound out of place on a Quentin Tarantino soundtrack. Be
prepared to have your bones shaken as Whitehorse storm
through the most darkly atmospheric set of songs to cross
our path for some time, with a deft lyrical touch for every
threatening guitar riff. SW
Stewart Mac and the Andy Kirkham
Rising Not One But Another
Radio
www.stewart-mac.com
Stadium rock writ large is what you get with Steward Mac
and the Rising, and none the worse for that. Radio is replete
with resonant guitar licks, singalong choruses and big
arrangements; its something you dont hear much of these
days. There are hints of the Rembrandts in the harmonies, and
overall, this could easily be an undiscovered album from the
early 90s. Put this on loud, get your hands in the air and get
happy; this is just the thing to put on to feel good; maybe its out
of its natural time, but its pleasing stuff. SW
92 acoustic magazine september 2015
Calan
Dinas
www.calan-band.com
Young Welsh folk act Calan has put together a collection
which is, by turns, rollicking and lilting, featuring some
wonderfully spacious, lush arrangements. Featuring
accordion, guitar, clarsach and fiddle, its rare to meet a
group of relative youngsters who arent afraid to mix songs
about dragons in with the folks songs, jigs and reels. Whats
particularly striking here is the delicacy and respect the
arrangements give to the mix of instruments; subtle accordion
is not a reference you hear every day, but here its absolutely
merited. A pleasure throughout, Dinas strikes a great balance
between ancient and modern, tune and song. SW
www.andykirkham.com
Andy Kirkham is one of that marvelous breed of post-
modern musicians who make their living through an
array of avenues; music teaching, playing 1930s jazz
at weddings, playing in bands doing even more jazz
and eastern European music, and songwriting. Here he
showcases his deft fingerstyle, deftly sliding from a 60s
folk club feel on Call Me to the complex eastern rhythms
of Lammah Baddah. This means Not One But Another
isnt the most accessible album, but it rewards repeated
listens with a breadth and depth that will keep you
coming back for more. SW
Good Lovelies
Burn the Plan
www.goodlovelies.com
The Good Lovelies are an all-female folk trio from Toronto,
but that appellation doesnt really capture their sound;
its too narrow and hinting at tradition for this beautifully
wrought folk-pop album. Shimmering harmonies decorate the
memorable melodies as the Good Lovelies roll from cheerful,
Ditty Bopsesque cuteness through guitar riffs which could
almost be from the Bangles output. Occasionally it feels a bit
lightweight, but the quality of the songwriting and the lovely
production shine through. Another obvious touchstone is the
Sundays, but true to the name, the Good Lovelies have burned
the plan, and made their own way forward. SW
Peter Appleyard
No Looking Back
www.peterappleyard.bigcartel.com
Peter Appleyard bears a striking resemblance to Andy
Murray but fear not as theres nothing of the racket about
his album No Looking Back. Classic singer-songwriter
fare is what youll find here, simple in execution, and
devoid of false airs and graces. Appleyards output is
heartfelt, but doesnt stick out far enough from the
crowd for us; you could listen the whole album without
anything really lodging itself in your mind. Theres no
doubt he has talent, but to win the enduring loyalty that
an artist needs to make his career last, more earworms
are needed. SW
093.indd 93 17/08/2015 16:31
LEARN ACOUSTIC TECHNIQUES

BECOME
OUR COLUMNISTS

096

A BETTER
CLIVE CARROLL ACOUSTIC VIRTUOSO
www.clivecarroll.co.uk

PLAYER
098
LEON HUNT UKS LEADING BANJO EXPERT
www.leonhunt.com

Whether you play guitar, banjo, ukulele or mandolin, 100

DANIEL HO GRAMMY WINNING UKE PLAYER
this is the place to take your playing to the next level.
www.danielho.com

102
THOMAS LEEB: PERCUSSIVE VIRTUOSO
www.thomasleeb.com

104
TONY MCMANUS: CELTIC GUITAR EXPERT
www.tonymcmanus.com

106
CHRIS WOODS: INSTRUMENTAL GROOVES
www.chriswoodsgroove.co.uk

108
MATT STEVENS: PERFORMER & COMPOSER
www.mattstevensguitar.com

110
PAUL BRETT: 12-STRING AFICIONADO
www.paulbrettguitarist.co.uk

94 ACOUSTIC MAGAZINE SEPTEMBER 2015

095.indd 95 17/08/2015 16:31
learn acoustic techniques

CLIVE CARROLL Acoustic Virtuoso

Polska frn Smland

This month, Clive looks at a dance tune with southern Swedish origins
Techniques Skill Level: advanced

A
polska is a type of dance tune
popular in the Nordic countries,
particularly in Sweden and Finland.
Most polskas are in triple time
where the rhythmic stress falls on beats one and
three, however they can also be in 2/4. Polska
frn Smland comes from Sweden and translates
literally to polska from Smland, which is a
province in the south of Sweden.
For this arrangement, the rhythmic emphasis note, an open B semiquaver, is played with the
has been placed in the bass line. Before playing middle finger and the following A is plucked with
upper and lower voices simultaneously, have a go the index. The method of alternating fingers
at the bass line to get a feel for the dance. This is during faster rhythmic passages should help to
played with the thumb only. create a smooth and accurate sound. Further on,
Next, try the melody ensuring that only the such passages can also be heard at the start of
fingers are used. In bar one, alternate between bars four and eight through 11.
the index and ring fingers and, at the beginning Now, try both the bass line and melody
of bar two, both digits pluck together. The second together. It is worth noting that in bar three,

Polska frn Smland Arr. Clive Carroll (Standard Tuning)

96 acoustic magazine september 2015

the open D on beat two is played with the index
finger and not the thumb. Remember that the
thumb only sounds beats one and three.
The music at bar six contains a hammer-on
and two pull-offs. To start with, ensure that
all notes are the same volume. It may feel like
you have to hammer harder and/or really
snap those pull-offs but the resulting clarity
of articulation will make it all worthwhile.
At the start of bar nine you might like
to strum the chord and, where a bass and
melody note are sounded on adjacent strings,
the thumb can pluck both.
On repeating this tune why not try developing
the arrangement by playing a one-note-per-bar
melody above the printed tune. Try adding an
open first-string E at the start of bar one, another
E at the start of bar two, and F sharp (first string,
second fret) at bar three, rising to a G at the
beginning of bar four. Ill leave that idea with you
and I hope you might enjoy creating a complete
upper melody of your own.
As you can imagine, there are thousands
of these polskas that you can explore and a
medley of two or three in contrasting keys
would be a lovely, and perhaps unusual,
addition to any players repertoire. n
september 2015 acoustic magazine 97
learn acoustic techniques
leon hunt UK Banjo Expert
Little Rock Getaway
Working on banjo chord familiarity and fluency
Techniques Skill Level: suitable for all
W
ere going to attempt to kill
two birds with one stone by
learning one of my favourite
tunes Little Rock Getaway
while also working on some chord familiarity.
One would generally assume that music with
slightly more complex or idiosyncratic chord
sequences might pose more of a challenge when
attempting to devise alternative routes through
them or for improvising over. However, a solid
working understanding of the three main chord
positions up and down the fingerboard presents
one of the most effective ways to generate
variations and improvisations. Be warned
though, when this approach is applied to a simple
or more generic chord sequence, the tunes
character and uniqueness will almost certainly
be lost entirely. When this approach is applied
to a tune with a more distinctive sequence of
chords however, the liberties were able to take,
substituting chords for alternative inversions
without losing the tune, or the essence and
distinctiveness of the tune, become far greater.
Little Rock Getaway started its life as a ragtime
piano tune written by Joe Sullivan in the mid-
1930s. It first came to prominence as a recording
by Bob Crosby in 1939. As far as I can tell, it was
banjoist Don Reno who was the first to port it over
to the bluegrass repertoire. Another important
version worth familiarising yourself with is
Les Pauls 1950 recording. The banjo tab here is
example 1
98 acoustic magazine september 2015
probably more derivative of that version.
The backbone of this banjo arrangement comes
courtesy of a very cool right hand roll pattern.
I first heard it used by Country Gazette banjo
player Alan Munde, but its now become one of
the bedrocks of modern bluegrass banjo playing.
Ive been able to find dozens of uses for it over
the years. The reason this particular roll is so
useful is that it makes full use of the fact that the
first and fifth strings in standard G banjo tuning
are identical at any given fret (above the fifth),
meaning that you can neatly, easily and clearly
integrate melodic movement within the roll itself.
Its application in Little Rock Getaway is a perfect
example. A flowing, versatile roll pattern with
clear musicality is like gold dust to banjo players potential, some experimentation and YouTube
take a look at example 1.
The first bar of the tune sees the chord change
from C to E7 midway and the second goes from
Am to C7. With the second bar, Ive chosen to
voice a C instead of the Am (the relative major)
and let the combination of my thumb wrapped
around the fifth string at the eighth fret and the
roll itself do all the work of the chord change. On
an ergonomic note, using your thumb to fret the
fifth string is by far the easiest way to get to these
notes. This pattern is used for the first three bars
but because what happens at the fourth bar is at
the bottom end of the fingerboard, and crucially
below the fifth fret, we need to find another way
to retain the flow of the tune. This is achieved
by sliding from the F to the F# on the first string.
Youll need to be positive with this slide as we are
trying to give the impression that it is a played
note rather than a musical ornament. Its also
worth noting that Im using what looks like an F
chord instead of the notated Dm. By doing this it
could be argued that were actually playing a Dm7,
as was the case in bar two with C instead of Am.
The chord you just slid into is written up as an
F#dim but the way Im playing it here; it probably
looks more like a B7. The relationship and
interchangeability between seventh chords and
diminished chords presents huge possibilities. Its
a subject thats far too long-winded to cover here
in any depth but hopefully just being aware of the
viewing will be enough to get the ball rolling and
ultimately add some flavour to your playing. The B
section has some nice but tricky sounding triplets
in it. If youre using the logical fingers on both
hands, and you manage to stay nice and relaxed,
these are much easier than they first appear.
Once youre playing this tune fluently and have
internalised the chord sequence, its time to have
some fun. If youre already familiar with, and used
to jumping around the various chord inversions,
youll be able to come up with limitless variations.
If, however, youre at the beginning of this area of
study, Little Rock Getaway will provide you with
an excellent playground with which to experiment
with and explore. n
little rock GetaWaY arr. leon hunt

september 2015 acoustic magazine 99

lEaRn aCoUSTiC TeChniQUeS
DanIEl ho GRaMMY WinninG UKUlele and SlaCK KeY GUiTaR PlaYeR
TRADITION AND EVOLUTION
Using the low G string on the ukulele
TEChnIQUES SKIll lEVEl: SUiTaBle FoR all
t
hree years and 18 articles in as an
Acoustic magazine contributor,
i realise its about time for me
to express my take on a much-
contemplated topic amongst ukulele enthusiasts:
high or low g string?
a possible theory for this pitchy identity crisis
is the question of tradition versus evolution. in
my travels, ive observed trends and discussed
this subject with many peersplayers,
retailers, distributors, and manufacturers. at
a masterclass in tokyo, Japan, a participant
mentioned that her teacher would not allow
her to use either a strap or a low g string
because ukuleles were traditionally strung in
re-entrant tuning and did not have straps. to
the contrary, at the cairns ukulele festival in
australia, i met a ukulele distributor who was
excited to supply the surging popularity of
the low g string. and during a recent visit to
Vicenza, italy, a conversation with a reputable
industry professional served as the impetus for
this article. He said, 50% of ukulele players out
there swear by the high g string. 50% love the
low g string.
Herb ohta, aKa ohta-san, may be the
rst internationally acclaimed ukulele artist
who popularised the low g string in the 1970s.
as a kid growing up in Hawaii at that time, i
naturally thought this was how all ukuleles
were tuned. though i will occasionally use a
soprano ukulele with a high g string to strum
rhythm parts, i have followed in my ukulele
heros footsteps and use the low g tuning
exclusively for my compositions and repertoire.
Legend has it, ohta-san was once told by a
fellow musician en route to a music festival,
You dont play real ukulele because you use a
low g string.
100 acoustic magazine september 2015
a few years ago, i was hired to do a recording
session for a tV pilot about lawyers who
all played ukulele. i arrived with different
instruments: a banjo ukulele, my moms old
mahogany martin soprano, a sanshin ukulele, a
myamoe resonator, an ohana bass ukulele, and
my custom Koaloha tenor strung with a low g
(the instrument i use for most of my recordings).
thinking id show off my shiniest, richest
recording tone, i played my custom Koaloha
while the audio engineer placed microphones
and set the levels on his preamps. the producer
pushed the talk-back mic in the control room
and asked me through my headset, Do you
have anything that sounds more traditional?
i tuned my moms martin soprano, which is
strung with a high g, and gave it a few strums.
He immediately exclaimed, thats it!
i often use the low g string to function as a
bass line. it is not quite low enough to be in the
bass register, but it does a good job at suggesting
what the bass line could be. imagine a tiny
music box. the scroll plucks tiny tone bars
that play melodies, chords and bass parts. the
pitches are very high, but they still give the
listener an idea of how the parts interact.
there are two types of low g strings: wound
and unwound. Back in Hawaii during the
70s, we only used wound strings, which are
similar in construction and materials to the
wound strings on classical guitars. a wound
low g string will generally have a brighter
tone and more power than an unwound low
g string. the tradeoff is that wound strings
squeak when you slide your ngers across
them. also, dirt, grease and corrosion collect
in the windings, which require them to be
changed more frequently than unwound
strings. unwound low g strings are made of
FUll TaB
onlInE
nylon or uorocarbon. they are similar in
sound to the unwound c, e, and a strings of
the ukulele, and dont squeak when you slide
your ngers across them. their tone is warmer
than wound strings, but can sound thuddy if
their diameter is too thick for the scale length
and design of an ukulele. Personally, i prefer
to string my shorter scale instruments (baby
ukes and sopranos) with wound low g strings
because i like the additional power and tension
they provide. For my recording and performing
tenor ukuleles, i use unwound PhD Premium
High Density low g strings. i have found them
to be the perfect tension and tone.
Holona (sailing), is an example of using
the low g string as a bass line. it plays a
syncopated pedal tone that underscores the
movement of the ocean over which the melody
oats. the key of g takes full advantage of
the low g string as it is the tonal center of the
composition. try to voice these independent
elements by accentuating the melody and
keeping a steady and undulating bass line.
the verdict? tradition evolves. are
mozart or Bach compositions played as the
composers intended? tempo, phrasing, and
dynamics have developed over centuries
and result in beautiful interpretations. is a
Fender stratocaster not a real guitar? Design,
craftsmanship and the production of sound
have come such a long way.
High g, or re-entrant tuning, is wonderful
for campanella techniques and strumming. a
low g string extends the range of a ukulele a
perfect fourth below middle c and provides a
deeper sound. one is not better than the other
and both have their strengths and signicance.
High or low g, its your call, and any choice you
make is unique and connected to you.
holona daniel ho

september 2015 acoustic magazine 101

Learn ACOuSTiC TeCHniQueS

tHoMaS LeeB FinGerSTYle VirTuOSO

RETURN TO DAWN
Thomas takes you through an Adrian Bellue
aPP
eXtra

composition with a twist on artificial harmonics

teCHnIQueS SKILL LeVeL: AdVAnCed

i
ve had the pleasure of meeting adrian
Bellue, an up-and-coming fingerstyle
player, at various festivals and shows
weve both played over the last
few years. His shows incorporate heavy
grooves, tuvan throat singing and wicked
beatboxing definitely go and see him if
you get the chance.
adrian says that the tune was inspired
by the disappearance of a close friend. the
challenging part is adding the melody lines
using harmonics on top of the main groove.
adrian has a lot of artificial harmonics
going on here on top of a bass line with a
couple of clicks thrown in for good measure.
While this is not actually as difficult as it
looks and sounds, it does take a while to get
all the various bits balanced and aligned. He
uses his pinky to pluck harmonic melodies
with the middle finger, while the thumb and
the index fingers provide the groove and
main theme.
Walkthrough of an artificial harmonic:
People generally use the index finger
to touch the node point for artificial
harmonics but adrian takes this a step
further and uses his middle finger for that,
freeing up the index finger for other things.
Place your middle nger on the harmonic
node points indicated at the same time as
fretting the indicated notes with your left
hand. When both these things are in place,
use your ring nger to pick that string.
try not to move your right hand too much
when switching between bass, melody and
harmonic notes and take the time to nd a
comfortable compromise between the three.

102 acoustic magazine september 2015

return to dawn Adrian Bellue

september 2015 acoustic magazine 103

leArn AcousTIc TEcHnIQuEs

TonY McMAnuS: cELTIc GuITAr EXPErT

BACH PRELUDE IN Full TAB

online

G FOR SOLO CELLO

Tony arranges the iconic G major piece to be played
on guitar in the original key and at the original pitch
TecHniQueS SKill leVel: InTErMEDIATE To ADVAncED

the music: Bachs output as a composer is
simply staggering in its depth and scope.
Probably the most prolific church composer
of all time, he also wrote some of the most
profound secular music in history the
Brandenburg concertos, the goldberg
Variations, the Well-tempered clavier
among others.
though much of this music is highly
technical (the 48 preludes and fugues in
every key, for example) once you engage
in the real substance of Bachs ideas the
emotional impact of the compositions
becomes clear. the six suites for solo
cello have become iconic in the baroque
repertoire and the g major prelude is
instantly recognisable. Here, ive found a
tuning that allows it to be played on guitar
in the original key and at the original pitch.
the tuning: ive arranged this piece
with the guitar tuned cgDgaD. two
things to notice about this tuning the top
four strings are the same as DaDgaD so,
obviously, some things you know already
from that tuning carry over here. the
second thing is that the tuning includes
all the open strings of the cello- cgDa so,
theoretically, anything playable on cello can
be reached on the guitar in this tuning.
this is one of Bachs most recognisable
compositions and arguably the best-known
cello piece in history. With that pedigree,
its no surprise that it has been arranged
for guitar several times though usually
transposed to D major and played in
dropped D tuning. i wanted to capture the
gravitas of the cellos low c on guitar and
hence the desire to stick to the original key.
the performance: the Prelude is almost
entirely a relentless cascade of sixteenth
notes, mostly in arpeggios (and no-one
could turn an arpeggio like J.s., right?) and
linear lines.
i think the first six measures here
are exactly as might be fingered on the
cello but, in measure seven, we can take
advantage of the extra strings available
to us and use the open strings to create a
harp like sound. Be careful to finger the
arpeggios precisely so as not to stiff the
open strings when we want them to ring.
measures 11 to 14 are so typical of Bachs
use of tension and release. in measure 11,
we have basically a Ddim7 chord which
resolves to am in bar 12 followed by a
Bdom7 in measure 13 resolving to em in
the next measure.
ive not included dynamic markings
simply because cellists all seem to have
their own way of articulating Bachs ideas!
However, i always feel inclined to lean on
the g at the top of the run down to the low
F# in measure 14 and hence it appears as a
fretted note and not the open third string.
Fretting the note allows a momentary use
of vibrato which, to my ear, sets up the run
with the right amount of drama.
the next really dramatic moment is
another cascade down to the low c# on
the bottom string that begins measure 20.
this involves some tricky fingering and
lots of alternatives. ive settled on using
the first finger to fret the c#, the third
finger to fret the a on the fifth string
and the second finger to e on the fourth
string. try, if possible, to stress those low
notes on the bottom string- performances
by the greats (e.g. maisky, tortelier, Yo-Yo
ma, Rostropovich) are easy to find online
and should inform how we approach this
on guitar. Listen to how those notes are
articulated on cello and see how closely
we can achieve the same on guitar. these
arpeggios starting at the very bottom of
our range bring us to the first pause in the
piece at measure 22 and well pick it up
from there next time.

104 acoustic magazine september 2015

cello prelude in G Arr. Tony McManus

september 2015 acoustic magazine 105

learn acoustic techniques
chris woods Contemporary Acoustic Groove Player
Let the music do the talking!
Opening up your melodic playing with Bmin7 tuning
Techniques Skill Level: suitable for all
T
his month, I want to look at a strange
but beautiful tuning: B, F#, B, F#, A,
D. The notes add up to a Bmin7 open
chord. However, my philosophy on
using open or alternative tunings is to not think
about notes, theory, or names of chords, but to
just let the music do the talking. So my advice
for you is to tune your guitar to this marvelous
tuning and get stuck in without even a thought
for a minor seventh or flattened third
Once you have tuned your strings to these
example 1
106 acoustic magazine september 2015
new and murky depths before looking at
the exercises, why not experiment? This is
the ultimate pleasure of guitar playing and,
you never know, this could be the moment
you create that song you always wanted
to; however if things arent feeling quite so
positive, then read on because I have created
three exercises for you and, of course, a
tuition video to accompany it in the digital
edition. The examples are there as inspiration
to get you playing.
App
Extra
Example 1 is a bluesy riff that we are going
to use as the foundations for the next two
examples. It is our main riff, so be sure to nail it!
If you look at the first bar, youll notice we have
two chords within the bar; very simple two
fingered chords. The chords are very short in
length, so you need to kill them with your left
or right hand to create a syncopated and funky
sound. After this, we have a simple string slap
followed by two B notes. Its worth spending
some time with the video here to make sure
example 2
you are getting the rhythm right. In the second
bar, we are using the same rhythmic and
fingerpicking idea, except we have changed the
chords. Play this over and over until its natural.
Example 2 is a scale. Well, its a bunch of notes
that I found in a convenient fingering that
sound pretty cool when put together! Play them
up, play them down, miss notes, play one note
example 3
twice, another note thrice... In other words,
experiment because in the next exercise we are
going to be using the notes to jam around with
our main riff.
Example 3 is our main riff, however we have
replaced bar two with a bar for noodling or a
bar for melodic playing. The aim is really for
you to use the notes from exercise two and
create melodic phrases from this. However,
to get you started I have create an example
phrase. Notice how I have pretty much used
the same rhythm and movement from the
main riff for the noodling section. This is a
great way to keep things fluid, since your
fingers and wrist can maintain the same
rhythmic motion thus helping you to keep
your flow. n
september 2015 acoustic magazine 107
learn acoustic techniques
matt stevens instrumental composer
in the loop
Using a capo to add new textures to your loops
Techniques Skill Level: suitable for all
I
ts easy to write off the humble capo as a
tool for singer-songwriters who dont want
to learn additional chord shapes in different
keys. However, we know that the capo
can be used for so much more than that. When
youre using just a loop pedal and an acoustic
guitar, you are constantly looking for ways to
vary your sound and sometimes, it might be
something as simple as using a capo.
Capos are often used to make it easier to play
open string chords in a specific key but they can
also allow access to unique chord patterns and
unusual voicings. Johnny Marr often used a capo
at the second fret to accommodate Morrisseys
vocal range, but also found lots of unusual jangly
chord voicings in this position.
Capos change the tension of the strings; each
position you put the capo on up and down the
neck seems to have its own unique feel and
sound. Wonderwall by Oasis just doesnt sound
example 1
108 acoustic magazine september 2015
right without the capo at the second fret!
Capos, like altered tunings, are useful to force
you to look at the instrument in a different way,
to make you play beyond safe chord shapes. With
a capo from the fifth fret upwards, you can get
a sound closer to a mandolin. This is especially
useful you fancy faking a version of Led Zeppelins
The Battle Of Evermore with a guitar rather than
a mandolin. One of the good things about using a
capo with a loop pedal is you can record in a guitar
part played up high with a capo at a high fret then
remove the capo and play a lower part with open
strings. This is perfect for creating jangly guitar
parts or faked 12-string sounds.
With a loop pedal, a guitar, and a capo, you
can create a guitar orchestra just like the ones
Radiohead, Jimmy Page, and Johnny Marr did
in the studio and on stage. Former Husker Du
singer-songwriter Bob Mould often plays a
wonderful acoustic solo set with a single acoustic
guitar and a capo, allowing him to play lots
of suspended, jangly chords. The Whos Pete
Townshend and Robert Smith of the Cure also
use a capo on the acoustic guitar to great effect.
When purchasing a capo, try experimenting
with a few at your local guitar shop. Remember,
if you are going to be laying down loops mid-
song, one of the spring-loaded capos may be
best as they can be removed at top speed and
cheaper capos my not grip the neck as well and
can lead to intonation problems. Check out the
stuff from G7th they do many different types
of capos, including spring-loaded ones called the
Nashville capo.
You can also use a capo to bring a guitar
tuned below standard up to standard tuning.
So if you have your guitar tuned down to a low
C for bass parts, you can use a capo to raise the
key to overdub a loop high up, then remove
the capo to play something on the bass strings.
example 2
example 3
When removing and placing the capo onto the
guitar, always check the tuning, ideally using
an electronic tuner pedal that will prevent the
audience hearing you doing so.The capo can
affect the tuningof your strings, stretching them
slightly when the capo goes on or off. In addition
to a regular capo that goes across all six strings
of the guitar, some guitarists use a partial capo
that goes across just a few of the strings, which
creates an effect similar to open tunings. You
could have a partial capo that goes over five
strings, allowing you to leave a low B bass note
open to act as a low drone.
With one guitar part played with open
chords down low and one capod at a higher
fret, we can get some really interesting sounds,
normally something you can only do with a
full band, but in this months example were
going to do the whole thing on our own with a
loop pedal. A lot of bands do this, for example
in the Eagles song Hotel California, one guitar
part is capod at the fifth fret and one is capod
at the seventh fret. These combinations allow
for some lovely complimentary guitar parts
with big ringing chords.
In example 1, we have an initial guitar part
with a capo at the fifth fret playing arpeggios
over our basic chord progression which is C, C
major 7,G and Dsus2. Place the capo on your
guitar and check the tuning then record in the
loop as shown in example 1. Itll take a while to
get comfortable playing open chords at the fifth
fret but you will soon get used to it.
In example 2, we move our capo to the eighth
fret to play another jangly guitar part over
the top of example 1, which we have already
recorded into our loop pedal. Before recording
this onto your loop, you may want to just double
check your tuning using a muted electric guitar
tuner pedal; remember moving capos around can
sometimes mess up your tuning. Hit loop record
and overdub this part over our initial loop.
Example 3 features some open chords played
without a capo to give some low end to our loop.
Hit loop record and overdub these onto our loop
we have recorded featuring our previous two
examples. Now you have a loop with a wide range
of guitar parts from across the neck.
It can take a while to get used to using a capo
and the effect they have on the geography of
your fretboard, the open strings are suddenly
unfamiliar and your basic chord shapes wont
work in the same way. Youll soon realise capos
can help you to explore lots of new sounds.
Anything that forces you to look at the guitar in a
new way has to be a good thing and should help
to inspire your creativity. n
september 2015 acoustic magazine 109
learn acoustic techniques

paul brett vintage guitar expert and 12-string aficionado

12-string corner
This month, Paul arranges the classic Meatloaf track
full tab
online
App
Extra

Bat Out Of Hell for fingerstyle 12-string guitar

Techniques Skill Level: suitable for all

D
uring my years of playing and
experimenting with different
styles and genres using a 12-string
guitar, it has always been a
challenge getting clean strikes on the string
pairs especially when playing at speed. Thats
really the key to solo 12-string fingerstyle
playing with the emphasis being on the right
hand to strike the pairs true and so they sound
as one. Its worth practising getting the pitch
and tension right when fretting at speed and
therefore its also important when choosing
a 12-string thatyou test the intonation and
action all the way up the neck to the last
fretable position.
In my opinion, to get the best out of
12-strings, you have to tune the string pairs
marginally out of pitch with their respective
partners and this is far better achieved
tuning by ear than by electronic tuner and
comes with practice and familiarity with the
sound and process involved. 12-strings can
add a huge layer of sound textures in the
strumming genre, especially in open tunings.
The sounds that can be achievedare unique
to the instrument if used correctly in most
styles including rock, which brings us to this
months tablature. Another genre I am fond
of experimenting with using my 12-string
is classic rock. In the formative years of
my life as a professional musician, I played
lead guitarin (and did sessions with) many
successful bands and artists and I have always songs for solo 12-string and voice and in in a fingerstyle realm. I came up with a
retained a love of that genre. I still record this months issue, I present the Meatloaf combination of fingerstyle and strumming
electric solos on various tracks but havent classic Bat Out Of Hell for your enjoyment. I and some interlinking bass runs which I think
played in live bands for years. originally did this as a bet with a friend who work rather well. Be sure to check out the
I love to arrange some of the big rock said it couldnt be done on 12-string, especially video in the digital edition. n

110 acoustic magazine september 2015

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 Advertisers Index
Acoustic Music Co................................................................................ 13
Allianz....................................................................................................... 95
Auden....................................................................................................... 25
Avalon Guitars....................................................................................... 82
Barnes and Mullins..................................................................... 33 + 71
Coda Music............................................................................................. 69
DIST-X Distribution.............................................................................. 65
Elixir Strings............................................................................................ 21
EMD........................................................................................................... 52
Forsyths.................................................................................................... 77
Frailers...................................................................................................... 33
Freshman................................................................................................. 29
Gremlin Music........................................................................................ 86
Guitar XS.................................................................................................. 83
Headstock............................................................................................... 73
Ivor Mairants.......................................................................................... 17
John Hornby Skewes........................................................................... 17
Korg........................................................................................................... 47
Lg/Marshall Amplification.............................................................. 45
Lakewood................................................................................................ 87
Lowden.......................................................................................................2
Maton....................................................................................................... 72
Mike Dawes............................................................................................ 93
National Resophonic..............................................................................3
Paul Brett................................................................................................. 95
Peterborough Music............................................................................ 93
Promenade............................................................................................. 16
Replay....................................................................................................... 33
Rotosound.............................................................................................. 53
Sandarac.................................................................................................. 89
Schertler.................................................................................................. 57
Strings and Things.............................................................................116
Sutherland.............................................................................................. 14
TC Electronic.......................................................................................... 59
The Acoustic Centre............................................................................ 15
The Music Room................................................................................... 51
The Musicians Union........................................................................... 77
The North American Guitar..................................................79 + 115
Westside Distribution............................................................................4
Yamaha..................................................................................................... 63

September 2015 acoustic magazine 113

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legends john hiatt
L E G E N D S
J oh n H iatt
A
lthough John Hiatt has
garnered a sterling reputation
among the musical community
as a singer-songwriter for
more than four decades, commercial
stardom has not transpired. Hiatt is befitting
of legendary status due to his monumentally
prolific and vastly underrated songwriting over a
long and varied career.
Hiatts songs have been covered by artists
as diverse as Ronnie Milsap, Bob Dylan, Linda
Ronstadt, Ry Cooder, Bonnie Raitt, Iggy Pop,
Emmylou Harris, Willie Nelson, Rodney Crowell,
Three Dog Night and the Neville Brothers among
them. His rootsy Americana-folk hybrid came
after much stylistic dabbling with pop, new wave
and rock in his formative artistic years that he
kicked off in 1974 as a solo artist.
A Midwesterner from the state of Indiana, Hiatt
was born in 1952 in Indianapolis and was inspired
by Dylan and the Stones artists whose influence
dynamically resonate in his music. His early years
were marked by tragedy when, at age nine, his
older brother committed suicide, and then two
years later his father died.
As a teen, Hiatt cut his teeth playing in a slew
of garage bands. He played bars all over the local
region and one of the bands he was involved with,
White Ducks, cultivated a name for themselves.
After high school, Hiatt relocated to Nashville
to become a professional songwriter for a
music publisher. While writing songs there, he
moonlighted performing at local nightspots in the
city. In 1974, he scored an audition at Epic Records,
and the label signed him to a deal quickly releasing
his debut album Hangin Around The Observatory
to critical praise. However, the press adulation
didnt translate into big sales. Subsequently, Hiatt
was dropped from the label and then dismissed
from his job at the music publishing company.
114 acoustic magazine september 2015
Words: teri saccone
This is the point at which many musicians might
have quit the business, but Hiatt didnt give up.
Instead, he moved to Los Angeles, picked himself
up, dusted off and started gigging again.
By 1979, he had hired a new manager, got
signed to a new record label, and was opening for
Leo Kottke. His first album on the label was Slug
Life and it was stylistically new wave which was
bubbling up that year. This was followed one year
later by Two Bit Monsters. Neither album sold well,
but by this time John was a fixture in Ry Cooders
backing band. In 1982, he co-wrote Across The
Borderline with Cooder which became a hit for
Freddie Fender (and was subsequently covered
by other artists). Over the next few years, Hiatt
recorded albums with both soul and country
flavours that would further build his reputation
among critics but, while he cultivated a
European following, his personal life was tragic
and chaotic. He was drinking heavily by the
mid-1980s and his second wife committed
suicide. By the end of the decade, he sought
help for alcoholism, remarried and continued
to make music. In 1987, Hiatt was clean and
sober and he released Bring The Family which
had a more rootsy vibe than its predecessors
and which many claim is his best album. It was
made with top session players and garnered
enthusiastic critical praise and made a
commercial impact via radio. Hiatt toured
extensively on the back of the album. In
1988, he made Slow Turning which also
received excellent reviews and remained
in the US charts for months.
In 1989, Bonnie Raitt scored her biggest hit
with Hiatts infectious A Thing Called Love.
Hiatts next album Stolen Moments appeared in
1990 and it, too, was successful both critically
and commercially. The single Bring Back Your
Love To Me won country music awards and,
by this time, artists were covering Hiatts songs
with even greater regularity. In 1992, Hiatt
resumed playing with former Bring The Family
(1987) colleagues (and well-known session
musicians) Jim Keltner, Nick Lowe and Cooder
in a band named Little Village. Despite the
inherent talent, the band unfortunately went
nowhere and dissolved due to egos. Next up,
Hiatt released a solo album Perfectly Good Guitar
in 1993 to lukewarm commercial reception. He
followed this up with a live album. Hiatt then
changed labels again, recording an album with
appearances by the Jayhawks and Bonnie Raitt.
These releases in the 1990s came and went
with little fanfare, but Hiatts output remained
constant. He paired up with guitarist Doug
Lancio (Patty Griffin) on Dirty Jeans And Mudslide
Hymns (2011) a project produced by Kevin
Shirley (the Black Crowes) and then again on
Mystic Pinball (2012) which was also helmed by
Shirley. Both albums charted respectably in the
US. In 2014, Hiatt released an acoustic-centric
and bluesy album Terms of My Surrender which
further galvanised his stellar writing reputation.
Hiatt may not be a superstar act, yet he is a
stubbornly idiosyncratic artist and a seemingly
inexhaustible songwriter. Hes out on the road to
this day, still playing and still recording. n
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