Tim checks out the 1st guitar Bob Taylor built as a teenager (actually 3rd, but they weren't up to his standards, so Bob ran over the 1st with a motorcycle, and the blew up the 2nd with fireworks!)

Mass St Music’s own Boss Flynn and Tim Nelson recently toured the Taylor Guitar factory in El Cajon, California and it just reaffirmed our pride in carrying these instruments that are not only exceptional players and beautifully made, but are also backed by real innovation and sustainability. Here’s their road report from Taylor Guitars.

A corner of the $750,000 pile of Koa wood at the Taylor factory

Tim Nelson:
It was obvious after visiting their factory how Taylor is able to make some of the most consistent and well-playing guitars on the planet. The amount of thought that goes into research and design at Taylor is truly astounding.

A birds-eye view of the neck department of the Taylor Guitar factory

Bob Taylor describing details of the Taylor neck angle

To build things well – every single time – requires well designed tools, fixtures, and jigs – many of which Taylor designed and built themselves after extensive research. They use these tools to build precise instruments without sacrificing the personality of the guitar. Wood is unforgiving when it comes to shaping and controlling it, not only in form, but also tone. Taylor blends style and artistic design with exacting workmanship, giving the player a great instrument with tons of personality.

This machine is clamping many Taylor guitar tops at one time

Fretting the necks - loaded by hand then pressed with a machine. Because of Bob's perfectly straight NT neck design, the necks do not require any fret dressing! Crazy but true.

I was really impressed with Bob’s drive for building perfectly straight necks – obviously a huge plus if you want low action. Taylor’s three-piece NT neck design is super smart. (Read more about the NT “new technology” design here) . There’s an incredible level of workmanship at Taylor, but also they have a real vision for our industry’s future and environmental stewardship.

Machines are part of the process, but it all starts with picking the right woods. This block is headed to the neck department.

Bob demonstrates how the bodies and necks go together while his #1 fan tries to get a closer look

Bending the wood for the sides of a Taylor acoustic

Bob has been a forerunner in our industry, ensuring the materials that we love as guitar players have a better chance of being around for future generations. I was also impressed by his awareness that just legally importing woods sometimes is not enough, that you can do more. (Read more about Taylor’s sustainability initiatives here).  He’s committed to doing it right by paying a fair price for materials, and takes it even further by actually creating jobs in impoverished areas, where a lot of valued woods grow.

Bob shows off the different bracing for Taylor nylon string guitars

Tim was really impressed with Taylor's innovative & environmentally friendly electrostatic finish process

Even Taylor’s finish process is really remarkable, reducing waste and pollution. They use an electrostatic process where almost all of the finish ends up on the product. This means far less pollution to the environment in the form of vapors escaping. They also create less solid waste from spray booth filters – once clogged with finish these were trash.  Today, the guy working in the spray area does not even need a mask, as it’s a very safe and clean application. Very cool! Employee safety in the finish department really struck a chord with me, having been around solvent based spray applications for years of my life. It’s great to see Taylor’s inroads in this area too.

There is still a great deal of hands-on workmanship at Taylor - here the soundhole rosettes are placed by hand.

Taylor guitars with their bridges recently clamped on the bodies

What's a guitar without strings? Here they put on the Elixir strings and give the new instrument a thorough set up and final check

John Flynn:
Although I expected to be impressed by the whole Taylor ‘campus’, the actual experience was far greater than I could have anticipated. I came away with a new respect for Taylor as a whole. Bob’s vision for guitar building is pretty ingenious, but I was also taken by a truly sincere commitment to do what is right and not just what is convenient. He is doing things I do not think anyone else in our industry is doing at this point, for the environment and for people. He and co-founder Kurt Listug have assembled an impressive team and they definitely convey the attitude of ‘let’s have some fun with this’ while remaining totally professional.

Bob plays guitar after the factory tour with his right-hand-man Andy Powers

Hey look! Gorgeous Cocobolo wood with Mass St's name on it! We've got a custom Build to Order GC 12 fret they're building for us with this exact Cocobolo. It'll be topped with Sinker Redwood for the ultimate Taylor fingerstyle guitar.

In words it would be impossible to describe everything that makes Taylor Guitars all that they really are. That is why they brought us to the campus. Fortunately, they do tours daily and it is open to everyone. It takes about 3.5 hours, so be ready, but it will definitely be worth your time. (Read more about how to take a Taylor Factory Tour here.)  We spent two solid days with them and there was not a wasted moment!

Check out Mass St Music’s full selection of Taylor Guitars here and be sure to mark your calendars for Monday, June 18, 2012 when the Taylor Road Show visits Mass Street Music! Click the Taylor poster below for more info.

A vintage burst bonanza graced Jim's office the other day! Vintage 30s acoustics

The arrival at Mass St Music the other day of a pristine sunburst late 30s L-00 Gibson aroused my curiosity about variances in sunburst style and color. There are clear and distinct differences in L-00 guitars from earlier years, but I was just curious as to the differences of color in guitars that were all close to the same age.  I seem to have accumulated quite a few lately and pulled five out for comparison. They  are my children, so of course I like them all, but found the variety interesting and of course a good photo opportunity. The five Gibsons are all late 30s and just for contrast I threw in a 1937 Martin D-18.  – Jim Baggett

Ed. note: though these are not for sale, we often have some spectacular vintage instruments at Mass St Music, easily found here on our vintage page. We also have a variety of newer fine burst acoustics in right now like this used Bourgeois Slope D, this Collings CJ G Maple Custom, this Eastman E10 SS Slope Shoulder, and this Leo Posch DM. Check out all our full selection of acoustic guitars here.

Jim's latest fixer upper is this well-loved J-35 from the '40s

This Gibson J-35 is from the 1940s. Mass St. Music co-owner and luthier Jim Baggett below discusses what he called the ‘Ugly Duckling’ and how he’s breathed new life into it. Check out all of our ‘On The Bench’ instruments here.

From Jim:

About six months ago, this not so pretty 1940s Gibson J-35 showed up at Mass St. Music. Frets were worn to the nubs and the top finish had been botched up with some pretty crude finish work and repairs.  I didn’t pay much attention to the guitar at first, but being a J-35 fan, I finally picked it up.  I was pleasantly surprised with the tone and realized that in spite of the cosmetics, the guitar was in pretty decent shape.

The toothy saddle here won't win any beauty contests...

New saddle in place, lookin' good.

The original owner must have appreciated the tonal characteristic, as the play wear was all the way up the neck. I just recently refretted the guitar and replaced the deeply worn, but original saddle. The guitar has completely jumped back to life. I have decided to do nothing about the cosmetic appearance of the top. I may fill the open control knob hole in the top, but realizing that it has no effect on the tone, my current thought is to stick to my original objective of dealing only with the the guitar’s strengths, which are tone and playability. It has become like a comfortable pair of shoes.

The Ugly Duckling 1940s Gibson J-35 'before' photo - new frets are in but saddle yet to be replaced.

Jim at his bench working on the J-35

The homely headstock

Formerly housed control knob, now just a hole.

The J-35 with some spanky new frets

Unmatchable tone and now great playability is restored.

We sent our  Boss Flynn back into the studio to get down some more tracks in an effort to share just how beautiful some of our Taylors, Martins and one very special Collings sound for our out of town customers. Flynn recorded the tracks at Lawrence’s own Art House Recording Studio and we think they sound pretty wonderful and are a true rendition. Check them out and let us  know what you think, and what other instruments you’d like to hear recorded in the future (comment here below, or email us at info@massstreetmusic.com). For Eastmans, Bourgeois and more Collings, check out our blog post last September. You can check out the sound files on our Mass St Music website as a blue button at the end of a guitar’s description, or check out our account on SoundCloud. Look for more soon!

Taylor Sound Files include:
Taylor Baritone
Taylor GC8
Taylor 814CE

Martin Sound Files include:
Martin GPCPA1
Martin DCPA3
Martin OM-21

Collings Sound Files now include:
CJ G Maple SB Custom

We have loads of great new gear in the store and some killer used items as well. Here’s what’s been turning our heads at the store lately…

John Flynn – Tungsten Buckwheat Amp
Phenomenal for performance or the studio. And at a great weight, it’s 30 watts but still grab-and-go.

John says this Tungsten Buckwheat 112 Amp is 'phenomenal'

Jim Baggett – Collings D2H VN Custom
Beautiful sound on this – we’ve really been pleased with the no tongue brace combined with Adirondack bracing – a small change that makes a big difference with Collings’ already exceptional build.

Another custom Collings with no tongue brace and Adirondack Spruce bracing - we love these.

Tim Nelson – Collings 01 SB
The sunburst on this guitar is just gorgeous. I really like the subtle light 1 style ‘burst Collings does. The woods they picked to build this guitar are unique and beautifully figured. This guitar is surprisingly warm for a single 0 size. A lot of fun to play.

"Surprisingly warm for a single 0"

Matthew Khomsi – TC Electronics Hall of Fame Reverb
There is a reason this pedal has been so hot even though it has been out for over a year – it’s awesome! I use this pedal all the time and I haven’t even taken advantage of the cool Toneprint feature yet, where you can replace the last patch on it. This is my favorite reverb pedal by far.

Matthew's favorite reverb pedal!

Alek Nelson – Music Man Stingray 4 HH Bass
This may be the most gorgeous bass I have seen in the store! The “roasted Maple” neck is beautiful and is similar to naturally aged woods with a lower moisture content. Great tone. Just look at the pictures, they do all the talking.

Alek's favorite is this Music Man Stingray 4 HH Bass

Mike Horan – Repair Shop – Posch DM
This vintage-styled Mahogany dreadnought delivers on so many levels. Aesthetically, the hand-rubbed sunburst Adirondack top is stunning. Leo Posch’s method highlights the depth in the Spruce that you don’t get with a spray-on burst. And the lighter stain that he uses on the back really highlights the Mahogany grain as well. As for the sound, this guitar has a broken-in, super responsive sound that is rare in new guitars. The bass end is big, without being tight, and balances well with the treble strings. The fret work is exceptional, and plays true up and down the neck. I’ve had a Posch DM for 5 years now, and continue to be inspired by it. My only regret is that my life doesn’t allow me more time with it.

Mike H says the Posch DM 'delivers on so many levels'. Agreed!

Ted Kritikos – Takamine EC132SC
I love the warm presence that the “cool tube” preamp adds to the sound of this guitar.  It’s a great player too, with a nice low action from our shop.

Ted's pick, this Takamine EC132SC, comes with 'cool tube' preamp...

Jesse Roberts – Collings UT-2K Koa Tenor Uke
This is simply the cadillac of ukes. Great sound and it’s gorgeous too.

Jesse's calls this Collings UT-2K Koa uke the 'cadillac of ukes'.

Anne Tangeman – Anderson Short T Classic
I’m not normally a tele person, but there’s something about the feel of this one I really like. The pickups too are out of this world – I think it’s a real workhorse that can do just about anything.

Anne says this Anderson Short T Classic is 'a real workhorse'.

Eric Putnam – Electro Harmonix Big Muff Pi
The BM Pi is a total classic with good reason – one of the best distortion/sustains out there.

Eric's pick is a 'total classic'.

Isaac Flynn – Fender Modern Player Tele Bass
Seriously cool. This has a great retro feel, is loaded with two killer humbuckers and sounds amazing.

This Fender Modern Player Tele Bass caught Isaac's eye

Zach Mehl – Nord Stage 2 SW73 Keyboard
Sigh….

This Nord Stage 2 SW73 Keyboard rendered Zach speechless...yes, it really is that cool.

Chucho – Rocktron Chromatic Tuner Pedal
Even Chucho can operate this puppy with one paw. And it’s only $50.

You think it's cool Chucho can use this tuner? You should see him tune his autoharp...

Mass St. Music co-owner Jim Baggett explains the next steps in the restoration of the 1939 Martin D-18 that is our latest ‘On the Bench‘ project. It should be finished and ready for sale in June or July 2012. From Jim:

The '39 Martin D-18 before we began work on it.

We recently acquired a 1939 Martin D-18 (serial #73525). Always one of our favorite guitars. This is one of the dirtiest guitars I have seen in a while but, though worn through in the expected normal areas, the original finish remains intact.  The bridge is not original and the neck has been previously reset and is in need of a fresh reset and refret. Since the bridge would not be reused and there was no way of knowing the type of glue that was used, we elected to plane the bridge down very thin before removing it. This can be done with a small hand plane or a router and jig. I had just reset and sharpened my planes, and was not all that interested in spraying the shop with ebony dust, so I decided to do it the old fashioned way.

Jim (very carefully!) shaves the bridge down on the Martin before removing it.

The bridge shaving in process...

The bridge shaved down as low as Jim would go before heating and removal.

Once I had the bridge down to about .080″, very little heat was required to free it up. It came off slowly, but not a splinter of Spruce came with it. The surface should clean up nicely, and even though the bridge that was removed was a tiny bit oversized (as is common), I don’t think it will be much of a challenge to make a new bridge that is the correct size and profile. The fact that the original bridge plate is clean and nice should make for a great tone sandwich.

After heating, Jim gently brought the bridge up with no damage to the soundboard.

Success!

The next step was to remove the neck. The previous neck set was a bit sloppy and had excess glue, requiring patience, but it has paid off as the beautiful heel of the 30s Martins remains uncracked. The original finish, though chipped and scratched, has a great look that goes with the rest of the guitar.

A little patience helped Jim remove the neck, which had excess glue from a previous reset.

Off and ready for a reset...

The neck pocket

The guitar and neck are now ready for our Repair Shop Manager and luthier Mike Horan to get busy on. Making a prewar style bridge is harder than one might imagine, but having lots of original prewars at the shop and having made dozens, Mike has it down. We also have a secret stash of beautiful, naturally dark Ebony set aside for these special and deserving instruments.

The lower bass bout is just one of the areas on this '39 Martin that definitely needs a little TLC cleaning!

The lower treble bout is another area that will get some TLC clean up!

I wanted to share some pics of the guitar in the dirty phase and will try to remember to update with more photos as the cleaning goes along. We have learned that patience pays off in this process. There is just no easy, quick way to get through 70 years of sweat and dirt, but I have always found the end result of a worn, honest finish to be worth all the effort. – Jim Baggett

(We just received our annual shipment of Blazer and Henkes acoustic guitars – usually all spoken for before we even get them out of the box, but we had to share them. Check out all our Blazer and Henkes guitars here or check the links below. Also below, boss Jim Baggett shares why we love these guitars and what makes them such amazing instruments…)

The Blazer and Henkes D-18 Burst

The  much anticipated arrival of Blazer and Henkes guitars has finally happened. It was a like a great holiday gift opening these up the other day. Normally the Blazers we order show up one or two at a time, but this year all five came the same day. This year’s batch includes D-18 style with a burst top, a D-18 with a natural finish, a Rosewood dreadnaught with a burst top, a Rosewood dread with a natural finish, and lastly a beautiful Rosewood OM with natural finish top.  Knowing the high standards to which Rudie Blazer and Willi Henkes hold to, it’s no surprise that all five guitars are delightful to look at and to play.

The Blazer and Henkes OM-28

My original association with Rudy and Willi was a result of our common interest in the great guitars of the 1930s. When they build guitars they have the great advantage of having access to a number of the finest vintage Martin and Gibson guitars. Their keen eyes, depth of understanding of wood, and high standards of craftsmanship result in new guitars that stand proud with the best of the 30s icons. I know that they compare their new guitars to great vintage guitars they have on hand – and when we receive them, we do the same. I come away thinking that the sound and feel of the new Blazer and Henkes must be very close to what players heard in 1937 – the sound that ended up giving these “Golden Era” guitars the reputation that they deserve. The sound and feel is automatically recognizable to  anyone who is a fan of that era.

Check out the beautiful back on this Blazer and Henkes D-28!

I feel that as players today we are so fortunate to have such a wide array of fabulous builders from our current era, making great guitars in many different styles, from the very traditional to the ultra modern. The Blazer and Henkes are definitely from the traditional style, and they have done an exceptional job.

The Blazer and Henkes D-28 Burst finish - simply stunning.

(For more info on Blazer and Henkes guitars, check out Fretboard Journal’s 2011 interview with Rudie Blazer and our 2009 interview with Rudie.)

A word from one of our owners, Jim Baggett, on the three spectacular Collings Custom CJs we recently received:

The three new Collings Custom CJs at Mass Street Music were inspired by my late 30s Gibson J-35. These are different than most modern guitars – with a short scale (24 7/8″ on two of them) and three non-scalloped tone bars (on all three). These sound very different from a typical Martin or traditional Collings. We intentionally tightened these guitars up. The sound is compressed significantly and the short scale makes me feel like a real guitar player. It’s really amazing what a fraction of an inch can do, giving you easier reach and less tension. We collaborated on three variations of these.

The CJ with a Sitka top and Mahogany back and sides is Jim's favorite.

The CJ MH SS SB Custom is a short scale with  Sitka Spruce/Mahogany, the CJ MhA SS SB Custom is a short scale Adirondack Spruce/Mahogany, and the CJ G Maple SB Custom is a standard scale (25.4″) German Spruce/Maple.  The fact that every player in our store seems to prefer a different guitar is very encouraging. I have tried to block out the opinions of others and make my own decision. The Sitka/Mahogany sent me home with tired fingers  – I just couldn’t put it down.

Our Repair Shop Manager, Mike H. favors this CJ Custom with the Ad top and Mahogany back and sides.

My old fav, the J-35, is still at Collings, but if my memory serves me, this Sitka/Mahogany is the Alpha pup. Not the loudest like the Adirondack, nor the prettiest like the German Spruce/Maple, but the one that continues to surprise and tickle my curiosity.

Our acoustic manager Tim Nelson says this Collings CJ Custom with a German Spruce top and Maple is "very responsive to even the lightest touch".

What is the best electric guitar for a beginner? It depends on a couple of things – style of music and budget being two big considerations. Most folks understandably don’t want to spend a fortune on their first guitar as they may not stick with it, or might want something else down the line. That being said, you owe it to yourself to get something built well enough that you can really play it – playing music should be fun. You don’t want to struggle with an instrument that won’t stay in tune or has a poorly made neck that gives you grief. It’s a simple fact that if it doesn’t play well you’re not going to want to practice. Get something you love so you’ll stick with it.

The resulting contenders: Squier, Ibanez, Fender, Squier...

We asked Mass St Music staff Matthew, Alek, Ted and Anne what their recommendations were for a best first electric guitar. Each came up with something different, though these guitars have some things in common. They’re not only great first guitars, but they won’t break the bank, and can even grow along with the player – something you’ll still pick up and play years after your first lesson. Here’s what they had to say:

Matthew K: Squier Classic Vibe Tele Custom, 3 Tone Burst – $379.99

“This tele is just a timeless guitar, and affordable. It’s pretty versatile too – it can cover rock, blues, jazz. It’s really a great place to start. It’s the kind of electric that if you get it, ten years later you’ll look back on it as a respectable choice, and even if you branch out into other genres, you’ll still enjoy playing it.

Matthew says the Squier CV Tele Custom is 'really comfortable and extremely easy to play."

“In terms of playability, this Tele feels really comfortable and is extremely easy to play, which is perfect for a beginner. Squier really stepped it up with the Classic Vibe series – in fact the new Fender Modern Player line is made at the same place in China as the CV series – they’re built really well. The frets are seated well, which is hard to come by on an instrument in this price range. Playability is the #1 reason why players would feel the need for a new guitar after just a few months, or even stop playing if they had just started – it’s not an issue on this Squier at all. The frets are consistent and super level. The neck is great quality and it’ll last – that makes a big difference. The finish on this is just so classic too – you’ll never get sick of it.”

Alek N.: Ibanez 321MH, Blackberry Sunburst – $299.95

“This 321 has a great neck on it, for beginners or pros. It’s Ibanez’s Wizard II neck, with a very thin profile – it’s super easy to play. I love the design of this too. I like that it doesn’t have a trem, for a beginner that really simplifies things. And it’s great for a lot of styles, but if you’re into rock or metal this is definitely the one. The thin neck is great for shredding, it plays super smoothly. It also has medium jumbo frets, which are a great size for beginners too – you know they’re there, but they’re not in the way.

Alek says the Infinity humbuckers in this Ibanez RG321MH are something you'd find on a more expensive guitar.

“It has Infinity humbucking pickups which are really hot and something you’d find in a more expensive guitar – plus this has 5 way switching, so it’s really versatile. The quality, fit and finish are just great and there’s not a lot that can go wrong on this – the strings are through the body and there’s no trem…. It looks really sweet. I love how the grain of the wood shows through the finish – sharper than a solid color guitar. Great price too.”

Ted K.: Fender Standard Strat, Candy Apple Red – $499

“There are a million reasons why I think this is hands down the most versatile of electric guitars and a great choice for someone starting out. You can play rock, you can play country, you can play metal, you can play blues, you can play Himalayan Pan Pipes – no, no you can’t, but you can play just about anything else.

“The three pickup combination plus the volume and tone controls give you an almost infinite palette of tonal colors to choose from, from bright and twangy to thick and meaty. It’s just the most versatile guitar around. Also effects pedals go great with this if you want to get more ‘out there’ with your sound.

Ted says this Fender Standard Strat offers "an almost infinite palette of tonal colors to choose from."

“Another thing I love about this guitar is that it’s infinitely customizable – It’s really well constructed, with great tone woods so with more experience you might swap out your pickups for a different sound or a different pickguard for a different look, which I think is really cool. Fender makes a lot of replacement pickguards and knobs for all different styles and colors. This one, in Candy Apple Red, is a super fun finish. Red is the color of passion – there’s a reason why it was one of the most popular Fender custom colors in the past.

“A lot of parents try to get the cheapest guitar because they think their kid won’t stick with it, but you have to get something good that won’t hurt their fingers when they play or they’ll be doomed from the get-go. With this Standard Strat, I think you actually save money in the long run – it’ll always be a workhorse no matter how proficient you become over the years – you’re always going to want a Strat.”

Anne T.: Squier Classic Vibe 60s Strat, Burst – $349.99

“I love this guitar – the three single coil pickup configuration and 5-way switching really give you a lot of versatility for many styles of music, and it’s a classic finish. Easy to play for a beginner but also you’ll discover all it can do as you get better at playing. A Strat is always my go-to for a first electric because of that, and this Squier Classic Vibe is just built well. Squier’s really changed for the better over the past few years and done some really cool instruments instead of just being Fender’s ‘lower end line’. The Classic Vibe series really shines on these, essentially, recreations of classics.

Anne's says the Squier Classic Vibe 60s Strat gives you "a lot of versatility for many styles of music."

“This Strat has nice detailing with good frets, a 3-ply pickguard and great finish. No matter what kind of music you’re into you can do it with a Strat – rock, blues, country, surf, etc. This is a guitar that can fill a lot of needs as your skill grows. And as Ted pointed out, you can pretty easily switch out parts later – though I think the tortoise style pickguard would be hard to beat with the burst finish on this – it’s pretty slick. The price here is about $150 less than a Mexican made Fender Strat and you could easily pick up a practice amp with that and have some cash leftover for a strap or gig bag.”

Though our staff each chose different guitars, they all agreed that the starting point should be thinking about the kind of music you want to play, then going from there. The Squier CV Tele Custom, Ibanez RG321MH, Fender Standard Strat and Squier CV 60s Strat are all great choices and constructed well so you’ll actually enjoy practicing. No matter what guitar you get, make sure it has a proper set up (setting the action/intonation and checking several points) – something we offer for free with every new guitar purchase at Mass St. Music.

The '65 Firebird in a plaid vintage case

From Mass Street Music owner Jim Baggett:

Very, very cool finish checking on this '65 Gibson Firebird in Gold Mist!

This 1965 Fender Strat Sunburst was in amazing condition - what a classic

The 1965 stars were aligned last week!  We were fortunate enough to have a 1965 Fender Strat Sunburst and a 1965 Gibson Firebird custom color Gold Mist pass through our hands at Mass Street Music. We took some photos of these guitars for the website, but they sold before we had a chance to list them on our Vintage page, so all we can do is share the cool pics here. We are always looking for nice examples of great guitars for our wish list customers and for our website. Enjoy the photos and keep checking our site as we never know when something like these two beauties will show up!

The full on '65 Gibson Firebird

Folks thought the Firebird was cool, but I think Jim loved this '65 Strat more!

Jim often checks the neck stamp date as well as the pots and pickups on vintage electrics.