Overall Comments

I ordered 2 casein picks from 'hermanmonker' on eBay. They arrived yesterday. I requested 2.5mm, style 4 (triangular.) I asked Steve, the proprietor's name, not to worry about bevelling. I prefer to do it myself. I spent 1/2 an hour tweeking them and-

I HAVE NEVER BEEN HAPPIER WITH A PICK IN MY LIFE!. My history with searching for the grail took me from making my own out of everything from old piano ivory, coconut shell, bone buttons, Wegens, Red Bear, every common and uncommon retail brand. Eventually I got real tortoise while in Europe. These are every bit as good as the real thing. From what I can tell so far, they don't seem to wear as quickly as tortoise. Best part, the price was under $20 for both, including shipping from England and Paypal fees.
Here's a link to the completed auction-
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=130413899634#ht_500wt_923

Overall Rating

10

Overall Comments

I have tried bridge pins made of plastic, ebony, brass, Tusq, and genuine bone. Of all these, the Tusq is the clear winner. It gives improved sustain and tone, superior to all others I have tried. The bone pins gave good sustain, but were somewhat darker in tone. I recommend Tusq bridge pins to anyone wanting to improve the tone of their acoustic guitar.
Note: Pins vary in size just a bit. I have to leave my pins slightly above the fully seated position; otherwise, they would be hard to remove when I restring the instrument.

Overall Rating

10

Overall Comments

As Bob Colossi stated in his web site, the elephant ivory saddle is good for instruments where you want to tone down the brightness. I have a Washburn jumbo 12 string guitar with maple back and sides. It was indeed too bright, and this saddle improved the tone somewhat, and has good sustain. I previously was using a Tusq saddle; Tusq gives a bright sound.
A luthier is not required for the installation. The buyer specifies what instrument he has, and Bob makes the saddle just a bit oversize. The buyer then sands it to give desired height and thickness. This was not a problem for me, and was indeed an advantage.
My lower-cost Washburn Chinese-made instrument now sounds like what I would expect a Gibson 12-string maple instrument to sound like.
Note: This is a specialty-application saddle. For most acoustic guitars, (where one wants to keep a fair amount of brightness) my choice is Bob Colosi's West African Ivory. The latter is harder than bone, and thus bright.

Overall Rating

8

Overall Comments

Tusq saddles are superior to the plastic saddles commonly used on lower-priced instruments. They have the advantage of low price, and gives one the ability to change the saddle himself (no luthier involvement). To my ear, Tusq is brighter than bone. My current favorite saddle is the West African Ivory, sold by Bob Colosi through www.guitarsaddles.com. However, my guitars are high quality instruments that deserve the best, and I don't mind spending some extra money to make improvements.

Overall Rating

8

Overall Comments

I asked Bob Colosi concerning his walrus ivory picks. I wanted a bright-sounding pick, which he claimed I would get with this choice. I was disappointed in the darkness in the tone I was getting. I hate to write this in a review, but since these are expensive, I wanted to save some other buyers possible disappointment.
Note: To get brighter tone from an existing plastic pick, try filing the point so that it is a bit more pointed, and file the flat surface of the tip so it is thinner at the tip. This will give brighter tone. You can start with a medium gauge pick, and file it to make it perform like a very thin pick. This gives the player a pick that is not flimsy, but bright. My favorite brands are the "Cool" picks (white version) and the Clayton fake tortoise-shell picks.

Overall Rating

2

Overall Comments

I was disappointed in the bone bridge pins. They give good sustain, but are somewhat darker in tone than the Tusq bridge pins. As I stated in my Tusq bridge pin review, I would go with the Tusq product for pins in most guitars. The one place I might still use these bone pins to advantage is on my bright-sounding 12-string guitar. If I want to further darken the tone (which I accomplished some already with Bob's elephant ivory saddle) I may use these pins on some of the strings.

Overall Rating

3

Overall Comments

Wow!
I just installed the two West African Ivory saddles I purchased from Bob Colosi through his web site. On my Tacoma JR55 jumbo (rosewood/ sitka spruce), the instrument previously had been a bit too dark in tone. I was actually thinking of selling it, and buying an Eastman AC820 or a Taylor GS8. From the information on Colosi's site, I figured that I would get better sustain and brighter tone from the West African saddle. (Up to this point, I had been using a custom made bone saddle.) The new saddles arrived in two days (!) and I just put them on. I was really impressed. The tone appeared brighter, better tone, better sustain. This guitar is improved. Incidentally, I had recently gone to 80/20 bronze light gauge strings (as opposed to phosphor bronze), and had installed Tusq bridge pins. These changes had also both really improved the instrument's sound before this saddle change.
Next I installed the second West Africa saddle onto my Larrivee D 03R (dreadnaught rosewood/sitka spruce). Previously I had tried a bone saddle on this instrument, and more recently had been using a Tusq saddle (my luthier had made the bone saddle too low, so I went to Tusq...) The instrument was too tinny sounding, and had a harsh bright sound in the treble strings. I was concerned that the West African ivory would make this even worse. I was surprised to find that the tone overall was improved, and the "jangley" sound in the high end also was pleasantly improved. The sustain also appears improved. Again, I had previously gone to Tusq bridge pins and 80/20 bronze strings, which I recommend (unless you go with Bob's bone bridge pins, which would possibly be even better...)
Comparing the West African ivory to bone: To my ear and memory, this ivory is brighter and more desirable than bone. The Colosi saddles are so dense and polished that they actually look like plastic (but I truly believe they are indeed ivory). The expensive bone saddles custom made by my luthier actually looked like soft porous junk by comparison.
Installation: These were actually fast and easy to sand to size and install.(Note: I have done amateur luthier work for years, and have made two banjos... so I can work fast. You might take an hour for the saddle job, when I got it done in 30 minutes per guitar.)
Final outcome: I highly recommend Bob Colosi's guitar saddles, and have found his West African saddles to be definite winners. I have no affiliation with Bob Colosi other than being a very satisfied customer.
I ordered his elephant ivory saddle for my 12-string jumbo maple-backed instrument, and it toned down the extreme brightness the Tusq saddle was giving in that instrument. (Elephant ivory will give a darker tone, which I wanted in that specific case.) -Ken W, Portland Oregon

Overall Rating

10

Sound

Has a very good full bodied sound, rich and plenty of volume.

Sound Rating

10

Appearance

Beautiful guitar, very nice looking wood, head has very nice inlays, no flaws anywhere. Finish is high gloss, a very attractive guitar

Appearance Rating

10

Customer Service

Customer Service

not rated

Overall Comments

Really like this guitar. I spent a considerable amount of time researching guitars and wanted this unit prior to purchasing, but a new unit was closer to $400.00 and I was more in the $300 range and almost settled for an Alvarez, then found this on craigs list. The person who had it took 6 lessons and gave up. I was very fortunate to get this guitar. Its a real keeper. You'd be hard pressed to find a better guitar in this price range. It will hold its own with guitars costing three times as much

Overall Rating

10

Sound

Good sound, full sound for a Tenor Guitar

Sound Rating

10

Appearance

Very good looking guitar, has nice head stock inlays, high gloss finish. no flaws good wood quality.

Appearance Rating

10

Customer Service

Customer Service

not rated

Overall Comments

Very nice guitar, good quality, good sound, great looking unit, nice action. Excellent Tenor Guitar.

Overall Rating

10

Overall Comments

HOWDY! I don't usually do things like this, but I just wanted to throw in my 2 pennies about Blue Chip picks. I've been using Wegen bluegrass series picks in both 1mm, 1.2mm and 1.4 for quite some time now and must admit to spending an embarrassing amount of money on every type of pick I could get my hands on over the years. I have also used real tortis shell picks from time to time. Recently I was given an opportunity to try a TD-50. I must admit, the pick is truly excellent. In my opinion it does sound and play like a real tortis shell pick. In fact, after using the BlueChip pick for a few days, I actually started to like it better than real tortis picks! Another advantage the BlueChip picks have over tortis is consistency.Often, real tortis picks will vary in tone and playability, even when they are the same shape and thickness.The pick also has not worn at all after many hours of hard use. The wegen picks seem to produce a slightly brighter sound so I've used the 1.4 and 1.2 alot . However, I usually never go much thicker than 1- 1.15mm in tortis. The BlueChip picks seem to be more dense than the wegens and produce a slightly darker more rounded sound. Because of the darker tone I decided to try a TD-40 which is an even 1mm. I very much prefer this thickness for the faster songs. The 1mm gives much better note separation ( especially on the bass strings)and just sounds awsome. While the wegen picks with the holes and textured surface still gives the best control when my hands get sweaty, I'm really falling in love with the sound of the BlueChip picks. If your looking to try a new pick, I recommend the BlueChip picks. They are a bit pricey,but hey, as popular as they are right now ,if you don't like it , you should have no trouble selling it. Anyways, thats my two pennies!

Overall Rating

10

Overall Comments

Old-Time Country Guitar Backup Basics
Joseph Weidlich, Author
2005 Centerstream Publishing - Hal Leonard Publications

Old-time country guitar can be evasive, due to the elaborate forms existing at the turn of the century. While surviving practitioners provide much insight as to "how it was done", we also have an extensive collection of early studio, radio, and field recordings from which to mine this invaluable American innovation. Often understated as "rhythm" guitar, old-time guitar is much more than just keeping time, and pounding out chords.

The instructional book, "Old-time Country Guitar Backup Basics" attempts to capture some of the key elements of the earliest styles of guitar, associated with backing up singers, fiddlers, and other lead instruments in the context of early rural American country music. The book is brief yet adequate in establishing a solid style of guitar for most any pre-WWII country music one might enjoy.

The author Joseph Weidlich is originally a serious student of classical guitar, giving him both a technical and acedemic background from which to appreciate the depth and complexity of his chosen subject. In fact, his first trek into traditional American music lead him to publish several acclaimed books on mid-1800's minstrel banjo, of which he is also an accomplished student. He has also collaborated with the noted old-time music scholar Dr. Alan Jabbour, and banjo luthier Mike Ramsey.

The book begins with a fair recap of the origins of what is vulnerably known as "old-time music". The typical chronological formula of fiddle-then-banjo-then-guitar is explained, with the latter debatably acknowledged as a 1920's entry to old-time string bands. The author might investigate pictures, stories, and artifiacts that suggest guitars being used with fiddles and banjos as early as pre-civil war (ref. Bob Carlin's Southern Exposure) to expand on his timeline. The author also acknowledges the mingling of blacks and whites in forming old-time music, arguably the pre-cursor of all American popular music following, but makes an assertion that the open guitar tunings of the early 1800's lead directly to the formation of blues, which may be a simplification of all the experimentation in the 100 years in between. At any rate, the attempt to define "old-time" music at the beginning of the book is both admirable, and telling of the author's recognition of this important subject.

Weidlich makes an important point, that virtually all the early string bands recorded had their own unique sound. The typical repertoire consisted not only of archaic fiddle tunes, but also minstrel era tunes, gospel pieces, ballads, tin-pan alley and other popular songs and tunes. He goes on to describe the effect of the depression, and the modernizing of guitar styles following in the late 1930's, even though several of his examples were actually recording as early as 1931.

The author finally describes the techniques in the book as taken from source recordings, of guitar players using thumbpicks and sometimes fingerpicks, and describes the use of a flat pick as a modern innovation. He targets the book at those who use a flatpick. The author might have identified several early guitarists who did use a flatpick, and were quite influencial.
The introduction adequately describes the author, his background and perspective, and the intended usage of his book. It is believed the author researched his subject well, chose his material carefully, and accurately, concisely, and effectively produced a very useful primer for early country guitar backup technique, typical of at least one style in wide usage before WWII, and broad enough to work in most any setting of old-time country music, or most any country music for that matter.

One improvement for this book, would have been the inclusion of a legend or key to the author's tab format for the techniques reviewed. There are many forms of tab in print, and it took a while to decode several symbols and values. As a strict observer of aural tradition and playing by ear, attempting to translate tab into music was very frustrating, but proved functional. Still, an accompanying CD would have halved the time invested in completing the book. Also, a basic explanation of a musical scale, and the numbering system for notes would have helped too, but in the authors defense, he states a basic understanding of these skills is required before working thru the book. With so many books including these foundations, it is a minor oversite for this publication, and most book consumers fully expect a tablature format.

He begins the tab and technique section with the bedrock "boom chick" lick. It would be preferred to use a more phonetic term, like "boom ching", as it is more correct to hold each chord, and let strings ring. "Boom chick" implies a staccato, choked, or shortened second beat, which was in use, but not the way most intend when using the term and not prevalent in the books subject area. Still, "Boom chick" seems to prevail. Again, a CD would clear this up very quickly.

Next, the author walks the reader easily thru the critical skill of alternating the "bass" note or the 1 and 3 beats, but also includes the use of the boom-ching-ching-ching lick often heard by the likes of Jimmy Rodgers. He describes the typical I and V or root and V pattern in good detail. Other techniques like the "6-7-8" run, and the "Golden Age Lick" are described, with the Golden Age Lick repeating twice at the end of a phrase, perhaps best performed by Roy Harvey of Charlie Poole's North Carolina Rambers.

The author then describes the usage of the third or III note. This is an important element, as it distinguishes a pre-war and post-war preference for guitarists. Guitar students will easily recognize this difference when strumming a three finger G chord, and comparing with the four finger chord. The four finger chord eliminates the "third", while the usual accompanying style avoids the 5th string for the same reason. Several variations of using the third are presented.

The 3-2-1 lick is described, although this lick can be overused, and can also unitentionally add a tin-pan-alley flavor, especially if extended into the 3,3-,2,1 lick. He choses several varations, as he does for most all the techniques, and all are very faithful in his purpose.

Leading tones are described, which are a wonderful addition to songs and more lyrical pieces, perhaps more at home with singing bands such as the Carters, and less at home with strict fiddle-banjo teams like Woltz's Southern Broadcasters. Alton Delmore used these often in his recordings before WWII with his brother, and although primarily known for his more than 1000 compositions, and his exemplary singing with his brother, he was an accomplished instrumentalist on fiddle, banjo, and guitar. He was not alone in using this and other techniques learned during his early1920's tutelage in the South, reinforcing its inclusion in this book.

Other techiques are described including chromatic tones. These really give a certain flavor to your backup, and it can't be helped but to harken the Mississippi Shieks, and the Baxters wonderful fiddle and guitar music, as well as many other teams across the South.

Finally, the remaining important technique described was at first confusing. After reflection, it is believed the "playing licks over chords" section is an attempt to emulate counterpoint on the arpeggios or notes of chords and changes as done in the early years, and more recently used in modern "walking" of the bass. This element is certainly present in some of the earliest recordings, Riley Puckett of the Skillet Lickers being only one example. However, it can be overdone, and confused with bass "walking". Its a subtle difference, and further study and careful usage would have to be observed in its usage to preserve the original purpose of old-time guitar. The author does a good job of introducing the concept as a teaser. Additional listening to references included in the book would provide excellent examples.

There are a wealth of other techniques, both documented, and living in aural form today that couldn't be included without sacrificing the delightful brevity of this work. However, should the author desire, a second book could certainly build on this one, with the extensive amount of material available and in use today. Old-time guitar hasn't recieved as much attention as fiddle and banjo elements, but its just as important, and can make any fiddler or banjo knocker sound their best when performing so many wonderful string band pieces. And for those guitarists who think they have grown tired of "rhythm" or feel under-appreciated, the old-time guitar material in this book and elsewhere can make you a hot commodity.

In closing, it was concluded that this publication is a real standout in the plethera of instructional material today, on a nearly obscure but important subject. It is hard to imagine a better product on the subject, in the space used, and selling for the reasonable price suggested. It was a pleasant surprise to find a book on this subject at all, and even more gratifying to find it so well written. - jbh

Jim Holland
Athens, Alabama

Overall Rating

10

Sound

Great sound. Very rich & warm with a bit of an edge. I have used it mainly on church sound systems. Good balance between bass & treble tones.

Sound Rating

9

Appearance

It is totally black. It has a lovely finish. Solid spruce with beautiful inlay work.

Appearance Rating

9

Customer Service

Customer Service

8

Overall Comments

The only other comment to make is that in early 2010, the strings started to break at the saddle. I just used my wife's nail file to file the saddle where the strings cross it. Bingo - problem solved. Back to being a very good guitar again. These are hand made are excellent value for money.

Overall Rating

9

Overall Comments

Mike Rowe's invention of a no drop guitar strap is a terrific strap. I was looking for a strap that would not eventually fall off the end peg after the leather attachment hole eventually stretches from use. There are products you can buy to lock the strap on the end pin of a non acoustic electric guitar, but I couldn't find anything that effectively locks the strap on a 1/4 jack style peg for an acoustic that you want to plug into an amplifier. Then i stumbled across Mike Rowe's video where he demonstrates his strap concept. I contacted Mike and we went from there. He uses a unique guitar shaped tab ( see his web site at http://www.rowemusicparts.com/guitar_strap/index.html ) that attaches to the shoulder strap with what he calls snap connectors to keep the strap ends from ever slipping off. You can watch a video demo on his web site. It is a great strap and you'll never have to worry about the strap end slipping off again. The wide strap design is comfortable and Mike can add engraving to suit your wishes. Mike is very accommodating and easy to work with. The Jenny's Creek Strap is the safest one I own and ends the worry of the guitar crashing to the floor because of the strap letting loose. I've got other nice leather straps, but all eventually slip off the the jack end peg. If you are looking for a solution to keeping your strap on your acoustic guitar that has a plug in end pin, take a close look at what Mike has to offer.

Overall Rating

10

Sound

For a guitar at this price, this is a very good guitar. It has a rich sound.

Sound Rating

8

Appearance

Easy on the eyes. It has a slight "Spanish" look about it, but still looks like a flat pick/folk guitar

Appearance Rating

9

Customer Service

Good service

Customer Service

9

Overall Comments

A fine guitar. Great sound.

Overall Rating

9

Sound

Owned two of these -- they did not even sound like the same model of guitar.

The first was buttery smooth and wide open with more resonant bass and low-mids and a crystal clear treble range with interesting overtones and lots of sustain. The second guitar seemed to lack overtones; it was more muted, had less sustain, and was decidedly less resonant across the entire spectrum. Both had plenty of volume. The woods were very different between guitars: ash of the first guitar showed a wild quilt figure, and the grain was more spread out; the second guitar did not show any quilt figure at all (none) and had very dense grain and even a more greenish hue through the finish. The spruce top on the second guitar had a tighter and more consistent grain, so it's unfortunate that the back and sides were inferior.

The first guitar sounded much better tuned a whole step lower. My wife had a hard time believing they were the same models after hearing some of our music played on the second guitar, and the recordings seem to verify that.

I rate the first guitar's sound at 9 and the second guitar at 7, but the overall experience of purchasing two guitars with little consistency between them I will rate at 7.

Sound Rating

6

Appearance

Well, the first one was beautiful!

But the second one was average, and showed no quilt figure at all. If you're going to market a guitar as "quilted ash back and sides" then you better be sure that each guitar shows at least some quilt in the grain. That was really disappointing, and ultimately changed the tone. I rate the first guitar's bubbly, billowy quilt a 10 and the second guitar's boring, straight grain and greenish hue a 5. To their credit, whoever devised the Hopi inlay scheme for the neck and top did a really nice job. The guitar looks like nothing else on the market, and not having a pickguard on a guitar is always good in my book, especially when you can decorate the top like that.

I rate the overall experience a 5 to highlight the disappointment of receiving inferior wood with no quilt, and the inconvenience I endured returning it.

Appearance Rating

5

Customer Service

The merchant's return policy was great, but I did not deal with Washburn directly so I can't comment.

Customer Service

not rated

Overall Comments

Inspect and play one before you buy it because consistency in tone and appearance is poor from one instrument to the next. Washburn should reconsider how they market guitars that do not have the features listed in the advertising. Given the doublespeak and vagaries that already exist in manufacturers' descriptions of their instruments, especially around this price level, it isn't fair that bog-standard ash back and sides can be sold as "quilted ash."

Overall rating a 6. But I say that first guitar I received was an 8 or 9 for the uniqueness its tone, looks, playability, and how well it stayed in tune. Too bad they can't all look and play like that.

Overall Rating

6

Sound

This guitar is an excellent guitar, but its excellence has limits. It is good for some applications, and not for others (like every other instrument).

Very silky and balanced when played by itself or with other instruments in a quiet setting, and it had excellent projection -- very loud. Nice and tight shimmering overtones, sustain, and harmonics, very bright but full and deep bass response.

Sounded poor in drop key tunings, very dull and hollow, even with heavier strings it just needed to be at concert pitch or higher to shine.

Playing bluegrass with it was its downfall. It sounded terrific when miked and mixed, and was good for rock or pop, but it was a total dog when it came to naturally cutting through a bluegrass band or a noisy jam session. Individually picked notes were very mushy. It had none of the forthright and cutting appeal of a Martin dreadnought, for instance. It just got washed out in front of the area mike with everyone playing around it. In jams it only added to the volume while being strummed, and I'd go to take my break and pick my lead and the volume would disappear Strumming or picking harder overdrove it very easily, and it sounded lousy at that point.

Sound Rating

8

Appearance

Nice little flame along the book match of the sitka spruce top. Varigated figure in the sapele was actually run of the mill, I've seen some much nicer figures in sapele before. Satin finish. Clean design lines, nothing tacky, very elegant - this is important to me, when the design is clean and simple then the woods natural beauty can be seen even more.

Appearance Rating

9

Customer Service

Never dealt with them, but I have only heard good things, and the warranty was reassuring that they stand by their product.

Customer Service

10

Overall Comments

Great guitar, which at the time (2000) I think was about 800 bucks. It was a steal, and was good for recording and live rock performances, but failed as a flatpicking guitar, or a fingerpicking guitar in open tunings below concert pitch. Intonated very well, and sounded terrific even with a capo.

If you are a bluegrass picker, you may have a different experience! If you buy this guitar then I recommend switching out the nut, saddle, and pins to see what it does to the tone. FWIW, I tried Martin Marquis PB mediums, Martin SP 80/20 mediums, D'Addarrio PB and 80/20 mediums,.and GHS Infiniti Bronze mediums.... depending on the situation I was playing in. Out of all, the 80/20 strings of any brand had the most cut, while PB strings seemed to jangle and float the tone more.

Overall Rating

8

Sound

a great singer songwriters guitar; in which I use it for.
Great full rich an loud sound; well balanced.
It has the sound of a D-35 with more projection.

Sound Rating

10

Appearance

Sitka spruce top an Indian rosewood three piece back an sides.
Truly one of the prettiest of the Martin standard line up.

Appearance Rating

10

Customer Service

Never had to deal with the company.

Customer Service

10

Overall Comments

They are a great guitar. If your chose you can not go wrong.

Overall Rating

10

Overall Comments

Ever have a strap pop loose and drop your guitar? I still remember the bass that landed on my foot one time. That simply won't happen with this strap.

It's an ingenious design that's so simple you wonder why someone didn't invent it sooner. You lace these little tabs (guitar shaped!) onto your strap buttons, and pop the main strap on or off, attaching with these amazing leather buttons that latch into slots in the taps. Hard to describe... visit http://www.rowemusicparts.com/guitar_strap/ and look at the photos. Be sure to watch the video. Would you try that with your present strap? I don't think so!

This baby isn't cheap but it is some of the best quality leather I've ever seen in a strap, and the workmanship is superb. I talked to Mike Rowe and learned that he sources the manufacture to a local Amish leather works that's been making tack and other stuff for 3 generations. You can tell. If there's any downside at all, it's that the new strap is pretty stiff. But that will pass with time and use, and this strap should last a lifetime.

There are 2 designs - straight and curved. I have the curved and it's very comfortable. Comes in black, brown or tan. There's no fancy work, which I like. I understand that some custom stamping is available. Talk to Mike if you want it. He's a great guy to deal with... very inventive in his product designs... and he stands behind what he sells.

If you have a guitar that you value highly, you really should look into this strap.

Overall Rating

10

Sound

I play a lot of blues, country, americana type music on this guitar, it great for fingerpicking to. I use it for recording

Sound Rating

10

Appearance

Its a beauty. Aged spruce top. Herringbone binding. High gloss rosewood back and sides. Ebony fingerboard. Hardware is still shine with no corrosion. no finish flaws at all.

Appearance Rating

10

Customer Service

I bought it used so I don't know if it under warranty... But I have never had a problem with a Martin were I had to deal with the company

Customer Service

10

Overall Comments

This guitar was a great investment . I love it. I got A LOT of guitar for the money. I have had other Martins over the years this is the best one I have ever owned.

Overall Rating

10

Sound

This guitar has a warm medium sound. Although it has good volume and cuts through well over a 2nd guitarist and bassist
when playing unamplified or with out a PA

Sound Rating

9

Appearance

This is not a high end Martin, Basic Dot inlay. No binding on the neck or body. Mahogany is a satin finish. it is nice with no flaws but very basic. all seams are glued together well. The guitar overall looks nice but not fancy

Appearance Rating

9

Customer Service

Never had a problem with any Martin where I had to deal with
the company

Customer Service

10

Overall Comments

I would replace this guitar if something happened to it. I chose it for its smaller body style. It is comfortable to sit and play.

Overall Rating

10