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Guitar Notes:
Yamaha Living In Sin With Martin
An unexpected return to childhood revitalizes an old flame in new
clothes.
For those who may not have the cash for a Martin D28, it's quite okay
...
The Yamaha FG700s and
FG730s ...
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First off: Put any thoughts of the boxed Yamaha guitars you’ve seen
at Costco away, while perhaps remembering that Nikon and Canon cameras are
also offered at warehouse operations, as well -- without the attendant loss
of prestige. Forget that you may, more often, associate Yamaha with jet-skis
and motorcycles -- even though their gas tank logo is comprised of three
tuning forks in homage and recognition of the company’s history as,
principally, a musical instrument maker, dating back to 1887. Combine this
knowledge with the fact that you may well find Yamaha pianos in both concert
halls, as well as recording studios, with a ubiquitous frequency that rivals
Steinway. And, in early 2008, Yamaha would effectively take over Bosendorfer
…
But, most of all, I want you to forget the price of something that has an
actual, off-the-rack price of a mere $200. Or $300, for the upscale offering.
And further, to those who have long loved Yamaha acoustic guitars, dating
back to the ‘Red Label’ 1960s, I want you to consider how far
production guitars have since come, meaning no particular disrespect to the
beloved, ‘FG-180’ dreadnaught model you initially purchased to
commemorate the first boastful sprout of pubic hair, along with the ornamental
roach clip you bought at the Head Shop. And, as it relates to the same, I
want you to set aside what plot of land a factory is situated upon as, since
the production of many items has moved to Taiwan, Malaysia and China, the
once snickered-at Japan has more recently been mythically elevated to the
new Germany and Switzerland as the standard-bearer of world craftsmanship.
Moreover, know the difference between that which is entirely
‘farmed-out’ and that which is guided and fundamentally produced
by the parent company, with little more than different scenery out the factory
windows as the only point of distinction. But if it’s the socio-political
landscape of a particular country that turns you off, that is your privilege,
naturally.
As for me, I’d be far from the Far East when I pulled into a New England
music store to purchase a mere capo. It was here that I’d inadvertently
reacquaint myself with Yamaha guitars as a brief time-killer while the counter
personnel continued to assist others. And in that wait, it was a sense of
nostalgia, I know, that compelled me to pull a new acoustic Yamaha off the
rack as a synthesized return to my childhood. After all, any kid who was
an aspiring ‘folkie’ or acoustic-rocker, back when, had owned at
least one Yamaha -- somewhat akin to everyone we’ve ever known in our
lifetime had a Volkswagen at some point in their early adulthood. And the
somewhat aging and scratched Yamaha guitars would ride in the back of those
used Beetles, resting comfortably, just above the battery. The two, combined,
created the complete picture of a Seventies existence -- at least for those
who didn’t get into the pot.
Yamaha guitars were often the ones we learned on, abusing their laminated
bodies with a cleaning ritual that included some Windex, a roll of paper
towels, and a bottle of Turtle Wax -- curiously the very same kit we used
for the Volkswagen Beetles. If nothing else, we knew how to maximize common
resources, I suppose. In any event, it was a medley of ‘Gui-Car’
supplies that complimented the Brillo and Tarnex we tried on the strings
as the bronze coating morphed into a metallurgical bio-hazard we continued
to play and bend until they snapped across our faces. That’s when the
absorbent paper towels came in handy, yet again.
And yet -- still, despite this abuse, the Yamaha ‘FG’ series of
guitars kept playing with a clarity and unusual warmth, that even made the
older and more cash-flush owners of high-end guitars take some degree of
favorable notice. And the ones who didn’t do a double-take were the
players who had previously owned a Yamaha, prior to their pricey Martin
acquisition, already familiar with their qualities. Several, indeed, owned
them, still -- and further spoke of them with a bright-eyed enthusiasm that
combined both nostalgia and respect. They were, after all, the best Japanese
folk guitar bang for the buck, serving up a sound that seemingly defied their
laminated construction. Indeed, many who have since inherited their Yamahas
from their once stoned-out uncles, adamantly believe that their
‘FG-180’ model sports a one-piece, solid spruce top -- even though
Yamaha, themselves, would tell them otherwise, unless there was some
production-run fluke they were wholly unaware of. Indeed, such a rumor exists,
and I did see one small photograph of an FG-180 soundhole that looked as
if the grain was running straight through the cutout. But don’t count
on it. It should be noted that Yamaha’s own literature cites the FG-365S
and 375S of 1977 as the first solid-top FG models, outside of a few high-end
offerings, such as the FG-2000, as precursors to the handcrafted ‘L’
Series. Such is the nature of a mythical-like folklore legend that surrounds
the early imported Yamahas -- particularly the Japanese ‘Red Labels’
that sometimes command an Ebay price five-times their original retail, in
often trashed-out condition.
If for a nostalgic return to one’s childhood, akin to paying $200 for
a boxed, 1964 G.I. Joe doll, one wishes to purchase an early Yamaha import
at elevated pricing, then justify it as a cost of recapturing a moment. But,
as it relates to a musical instrument -- as a longtime owner of both an FG-140
Red Label (Japan) and an FG-160 Black Label (Taiwan) -- I have to advise
that one should exercise good judgment with such expenditures, even though
I think the older Yamahas can be magnificent -- potentially. It’s true
that an FG-160, originally listing for around $160 in its day, would equal
around $650 in 2008 money. But this may more accurately reflect the value
of what you can purchase for $200 ~ $300 today, rather than the inherent
or mythical worth of the older instruments. We’re not, after all, speaking
of a pre-war, solid-top Martin from the 1930s.
And no, laminated top guitars don’t generally improve with age -- or
marginally so , at best … with exceptions. What has changed as it relates
to the apparent sound of the older Yamahas since the original purchase is
improved string technology and their construction processes (including
unannounced improvements, even with the same name and number designation)
… as well as one’s individual ‘aural shift’, particularly
as one approaches forty, or thereabouts (sooner, for those in rock bands).
It’s somewhat more likely that one’s hearing has become more
‘mellow’ or ‘warm’ than the sandwich-like construction
of an acoustic guitar with a layered, laminated top. This said, Yamaha
had seemingly conjured some sort of freakishly unusual construction
recipe for its lamination process that eluded most other makers. But for
those hell-bent on purchasing one of the older, laminated Yamahas, appreciate
what may be its compelling sound for what it is, firstly -- and has most
generally been, differences in string construction and character aside. Said
another way, let yourself be lured by the inherent and true merits of a
particular folk guitar, not by contemporary folklore -- and ‘vintage
pricing’. In another article, I will be discussing the true and verifiable
merits of the older Yamaha imports, so hold on, you classic ‘FG’
enthusiasts ...
But Yamaha, What Have You Done For Me
Lately?
So there I would be, in a music store, January of 2008, biding my time with
a wall of acoustic guitars before me. On a nostalgic whim, I unhooked a Yamaha
featuring a stringed tag that denoted it as having a ‘Solid Top’
-- that is, no lamination used as part of the guitar’s most critical
and tone-defining section. Having previously been remotely aware that Yamaha
offered guitars that were more upscale, relative to the original ‘FG’
series I had grown up with, I assumed that I had grabbed one of these upper-class
samples. As usual, I fingered an open ‘G’ chord -- the one I usually
first choose when auditioning a new guitar, reasons unknown -- and played
the note cluster, finger-style … “Pretty nice”, I thought,
as an impromptu assessment I could make with that single, finger-picked chord.
But a little nicer, still, once I tweaked the tuning a bit …
Okay, now I was ready to play a series of chords -- otherwise known as a
song -- to delight in the characteristic ‘Yamaha Sound’, chime-like
and detailed. There was a nice sheen to the upper register, if the bass region
was a bit lean. But I still fully accepted this as an example of Yamaha’s
more posh offerings, if in a minimalist form, without excess. With this,
a natural curiosity prompted me to flip the tag over to reveal its price.
It read: $199.
“Fuck me”, I thought -- and may have actually uttered, but people
hanging out in music stores are accustomed to such language, as well as similar
invitations.
The Yamaha guitar was, indeed, the lowest-priced instrument of their more
recently revised ‘FG’ series -- an FG700S. And this was no Costco
‘Gig-Maker’ package in a cardboard box. It was a rather impressive
guitar. And, at the hanger price, more impressive, still.
With this, I started to grab other (more expensive) guitars off the rack
to ‘recalibrate’ myself. So out of the loop, was I, regarding the
newer breed of inexpensive guitars, I had little idea that solid tops were
now available at this price-point. And as I sampled a variety of acoustics,
I kept returning to the Yamaha in a hastened succession of A-B comparisons.
While having its own characteristic sound, this new ‘FG’ was, at
least, welcoming those comparisons to guitars twice its price -- not as a
sound-alike clone, but certainly as something to be compared -- and considered,
on its own merits, with a moment of pause ...
It didn’t take too long for me to render a decision I was unprepared
for when I had initially walked in the store for a simple capo: I wanted
this guitar. It was light and airy, and would be a nice compliment to yet
other guitars in a multi-track recording context. I do consider guitars,
relative to how they’ll likely record -- aside from their
‘open-air’ qualities -- as an ‘acquired ear’. With that,
I approached the now-vacant counter and said, “Wrap this one up for
me … Oh, and a Kyser capo, too.”
$200 for the guitar, tucked in a backroom Ovation box, $20 for the capo,
a little bit of tax, and I was gone.
Bringing It All Back Home
…
I think I may have bought the Yamaha under what may have been the best of
evaluative circumstances. Other than being aware of its solid, Sitka spruce
top, I knew very little of its construction details or that it was even assembled
in China, at the time of in-store evaluation. I did give the guitar the visual
‘once over’, but didn’t bother reading the label beyond the
sound hole. As “ignorant” and “research-free” as this
may seem, there is a certain merit to the ‘blindfold’ … My
impressions were based purely on the guitar’s sound and its fretboard
playability -- even before I flipped the price tag. As such, nothing skewed
or biased my decision regarding that which was most important.
It wouldn’t be until later in the evening that I started to actually
research the guitar -- one that had garnered a number of favorable reviews,
inclusive of the UK’s ‘Acoustic Magazine’ that awarded it
with a 95/100 score -- even though, curiously, the FG700S model turned up
missing at Yamaha’s UK-based website, starting off with the
‘720’ model, instead. I would, later, come to discover that the
‘700’ was, indeed, available at the London shops (Chappell of Bond
Street … actually located on Wardour St, off Oxford, in Soho …
has virtually all musical things Yamaha -- inclusive of some guitars not
generally available in The States. Really worth the morning perusal after
coffee).
With this after-the-fact research I learned that the newer ‘FG’
series, revised back in 2005, had adopted much of what was originally developed
for Yamaha’s upper-crust, handmade ‘L’ series guitars, from
the bracing pattern, to a somewhat more massive bridge piece -- occupying
some extra real estate, to the neck joint interface -- if in a somewhat modified
form. Indeed, these revisions -- combined with the solid tops -- offered
what some may consider to be among the best ‘FG’ series Yamaha
has yet produced. And yes, with these now being produced in China.
Upon closer inspection, relative to my quick perusal at the guitar shop,
I saw no slop in its construction, whatsoever. The joints were pretty much
impeccable and there were no signs of excess glue on the inside -- or out.
It was all cleanly done with very good fret work, to boot. The spruce grain,
nicely bookmatched, was tight and straight with just a bit of a bear claw
pattern running perpendicular to the grain (a character preferred by some
Luthiers). The back and sides were, indeed, laminated pieces made of Nato
wood (sometimes referred to as ‘Eastern Mahogany’), regarded as
‘cheaper’ than conventional mahogany because it grows in greater
abundance, but still retains much of the same sonic character (keep in mind
that mahogany, itself, was once thought of as a lower grade of wood, relative
to rosewood, but ultimately became an entirely accepted standard, even among
several Martin models). The neck was also milled with nato, as well, served
up in a smooth matte finish for an easy glide. As to the finishing coat,
I only wish the Zebrano wood in my Mercedes E-Class was finished as well
(and that the clear coat didn’t crackle in time, Mercedes engineers,
who tell me that “Zay all do dat”). Abalone and pearloid flourishes
on the headstock and rosewood fretboard finish it off with a restrained sparkle,
without the lounge act bling. And yes, again, all of this coming out of a
Yamaha factory located in China. More on that, coming up ...
But in contrast to some personal appraisals I’ve read regarding the
Yamaha ‘Grover Copy’, chromed tuners, I’ve found them to be
proficient and entirely serviceable. This, from one who often engages in
‘micro-tuning’ tweaks that sound musical, rather than slavishly
following the clinical readout of digital tuning devices. As it relates to
tuning, I don’t deal in nickels, I listen for pennies -- particularly
when recording, where I’ll make micro-adjustments on a song by song
basis. The stock Yamaha tuners don’t prevent me from doing so.
The China
Syndrome…
Admittedly, when one considers the notion of China involved in guitar-related
products, a torturous image is conjured of reverse-direction, bamboo fingerpicks.
But be that as it may …
In a new world economy, working with smaller margins, a large number of
well-respected manufacturers have moved production away from their respective
mother lands, setting up shop in a less expensive labor environment. Indeed,
several of Nikon camera’s most popular products -- cameras and lenses
-- are now produced in Malaysia or China. This, without any reduction in
quality. In fact, its been reported that there are Japanese companies
experiencing a lower defect rate out of their China-based plants. These factories
are not “farm-outs”, but rather, are essentially exact duplicates
of their Japanese counterparts -- all under the supervising eye of the parent
company …
As such, the quality of a number of instruments being fashioned in China
-- Yamahas, inclusive -- shouldn’t surprise. Today,
“manufactured” guitars begin their life navigated by CNC (Computer
Numerical Control) -- also used by the famed American, one-man luthier, James
Olson (James Taylor’s longtime choice), as well as by Bob Taylor of
Taylor Guitars. And while there remains to be ‘human intervention’
in assembly, many are experienced “button pushers”, right down
to the robotic spraying stations.
But the actual handwork of the Chinese assemblers has also proven to be
excellent. So much so that Yamaha now produces several of their revered,
hand-made L-Series guitars in China. The truth is, when under parental control,
the guitar doesn’t care whether it’s made at the North Pole, as
long as temperature and humidity are kept in check.
And no, these aren’t slave-based, child-labor, sweat shop operations.
While the wages are low by our standards, the workers at Yamaha (among other
out-of-country parent companies) are living higher than ever before, and
are reportedly happier than previously anticipated … while, in time,
expecting even more in the way of riches, both personal -- and monetary …
As the cost of Chinese labor rises (that which has already begun), many companies
will move operations yet again -- to, say, Vietnam (perfect for Yamaha, as
yet another icon of the 60s and 70s). Perhaps Malaysia, instead. It will
then be that the “older”, Chinese-produced Yamahas will become
the new darling of the market as the Taiwanese and Japanese units now seemingly
are with the move to China-based production. At such time, there will be
those on eBay promoting these current guitars as the “desirable, Chinese
‘Maroon Label’ Yamahas”. Wait and see …
But, as it relates to “social consciousness”, China plays
“host” to about 1.3 billion Chinese. About a billion of those people
live in outright poverty. Those working at Yamaha are not among them. So,
I’ll leave it to you to decide whether it’s better to boycott a
country (or, rather, it’s government) -- or to improve at least some
of their lives through commerce. I pose the question, for your own consideration,
as a non-Republican.
Sound Evaluation …
When making an initial evaluation -- in the music store -- I listen for the
general character of the instrument, knowing that the details will require
more time and, to a degree, experimentation. A mere change of strings, for
example, can decidedly alter the details. For instance, at $60 more, the
Yamaha FG720S didn’t sound quite as good in the store as the 700 --
something I would also find reported elsewhere on the Internet. But …
this said, the 720 may have had 100 more oily hands all over it, diminishing
the string character. After all, while the 720 had a little more bling in
its binding, relative to the 700, the guitars should have sounded remarkably
alike -- essentially being the same guitar, with common wood selection and
construction. Beyond this, I recalled that, in the old days, the factory
strings that Yamaha supplied could be readily dismissed -- and quickly changed.
If you liked the sound of the Yamaha -- in store -- it would only be elevated
when one swapped out the strings for something better. This would remain
true for today’s Yamahas.
My initial at-home evaluation would be conducted with two string offerings
-- a set of Martin Bronze 140s (non-phosphor), and a second audition performed
with a package of Elixir Nanowebs (lights, initially, then moving up to
medium-lights). I initially string with the Martins simply because these
have long be a ‘reference point’ for me when conducting a first
evaluation -- even though they may not be my ultimate selection for a particular
guitar.
But before any strings replace the original factory set, I give the new fret
board a few swipes of #0000 steel wool, then lightly oil it with virgin olive
oil -- wiping most of it away, thereafter. It’s here that one will likely
be amazed as to how much dirt comes off the new guitar onto the cotton rag.
With a fresh and clean fretboard, the Martins would go on -- and the evaluation
would continue for a couple of weeks with that string set, followed by the
Elixir Nanowebs.
Impressions …
As anticipated, tossing the factory strings made a realizable difference,
while the guitar, itself, retained its innate qualities -- that which drew
me to it, in the first place ...
With a Flat Pick (Dunlop Medium), Strummed Open
Chords:
Bright, punchy, chime-like, and “jangly” -- having a very complex
harmonic structure that nicely swirls in a long sustain, as if there was
actually just a bit of ’12 String’ DNA in this 6-string guitar
(even more so with the Elixir strings, relative to the Martins). Just a little
sense of ‘wow’ that brought a smile to the face. For those preferring
and seeking mellow tones, exclusively, it may not be for you. But for those
wishing to expand their acoustic sound palette with ‘something else’,
even as a specific task-oriented alternative -- again, nice. A rather
extraordinary top-end, with no brittleness. Subjectively, the bottom end
is somewhat anemic in the bass region, relative to the bright tones, but
it’s all there. For recording, microphone selection -- and placement
-- will offer a variety of high-to-low balances, as something one might keep
in mind. Alternative pick materials can also impart a profound influence,
in addition to other string compositions, naturally.
Finger Picking -- Combination, Fingertips and Finger
Nails:
Here, the guitar naturally mellows, particularly with the fingertips, alone
(I often graze the strings with both the fingertips and nails in a single
action). Here, the high end retains excellent, chime-like detail for the
finger-picker, while serving up a rounder bass -- without wooliness or undue
muffle. The sound is still filled with harmonics, with the fundamental tones
being nuanced at a variety of levels (volume). Nice. Real nice. About 75%
of my acoustic playing is finger-picked. And while the string spacing may
be regarded as somewhat close on Yamaha’s relatively narrow neck profile,
I’ve never experienced any problems playing any Yamaha, fingerstyle
(at least with my fingers). If you can play Martin’s D18, you can handle
this guitar.
Sidebar Notes:
Initially, with the Martin bonze strings, the ‘B’ and ‘high
E’ strings seemed just a little forward and aggressive, relative to
the rest of the cluster -- something that would settle back a bit in about
2~3 days. When outfitted with the Elixir Nanowebs, the balances were better,
right out of the box. This, as referenced to my particular sample -- not
as a universal endorsement or preference among strings. Additionally, the
Elixirs seemed to expand upon the innate and inherent sound of the Yamaha
as a very nice compliment to the guitar’s intrinsic, bright character.
For those looking to mellow the sound of this guitar, perhaps look elsewhere
for your individual string selection.
Later, switching out the stock saddle for one I had fabricated in bone did,
indeed, refine the tone, making the upper register just a little smoother,
for lack of a better description. But this distinction should be regarded
as subtle in this particular case.
As a matter of finger-picking ‘manicure’, I noticed that that the
guitar was somewhat sensitive to the fingernail “particulars”,
with regard to clipping and filing. Martins seemed a little more
“forgiving” -- likely tied to the Yamaha’s bright, harmonic
complexion. Small adjustments with a nail file pulled the act together, while
keeping the Martin sound basically untouched when switched over. In a similar
vein, you may also notice a somewhat greater difference in comparative tone
when switching between light and medium flat picks, relative to some other
guitars … Medium picks, generally recommended (as for most guitars,
I find).
For those with fingers that have been reasonably well exercised, a switch
to Elixir medium lights -- or simply mediums -- did render a little better
tone in the bass to mid-bass region, quite predictably. This, again, not
as a recommendation in the absolute, as one’s individual fingers come
into play here (no pun).
As it relates to the above, I found the overall playability of the Yamaha
to be absolutely fine (both before and after an experimental saddle shave
that was quite modest). With the medium strings, the action pulled just a
little higher -- as to be expected. But, unlike others, I don’t define
playability solely by ‘how low’ the action can go without buzzing.
For those who do regard string height as the defining moment regarding
playability, they may be missing -- or are wholly unaware of -- a world of
other issues relating to playability -- as well as sonics. In fact, I often
find excessively low action to be excessively tedious, having -- in effect
-- little ‘action’ at all, with an attendant loss of response and
control. For beginners, without a trace of finger callus, okay. For those
more advanced -- and nuanced -- you already know what I’m talking about.
Back to the sound, a couple of observers, Acoustic Magazine among them, noted
that the Yamaha FG700S began to compress and crush tonally when strummed
quite hard (with a pick). This is fundamentally true -- but I, myself,
don’t play with violent actions. Pete Townsend may wish to look elsewhere,
perhaps. But for those of us a little more reserved (or a little less deaf),
this isn’t even a consideration. Here, again, a switch to medium strings
will give you some extra headroom, should you require it.
In the final analysis, the rolled-off bass region made the guitar somewhat
reminiscent of a smaller, ‘OM’ 000 - sized guitar in a ‘Dread
Format’, but with a bit more jangle and zing. It was this characteristic
that made me entertain (and purchase) one for particular recordings.
Six Months Later: The Upscale Yamaha FG730S
…
 No
FG730 had been at the music store when I first sampled the 700S. While the
‘Mid Grade’ 720 employs the same construction and wood as the 700
-- with the addition of ivory-colored neck binding, the even more upscale
730 would bring rosewood to the back and sides, in place of the nato wood.
And more bling, as well. A full wrap of ivory binding around the body, up
the neck, and around the head stock. A very elegantly executed ring of abalone
inlay was also added to the soundhole rosette. While I was never entirely
into guitar jewelry, when I saw my first 730S six months after my 700
acquisition, the elegance did reflect a guitar that would be more typical
of a mega-dollar guitar -- all still executed with a reserved restraint that
kept it out of the lounge act category. My only wish is that Yamaha had gone
the extra measure to serve up a bevel to the pick guard edge for better visual
fluidity on this upscale-looking guitar (for all of a measly $300).
I would, indeed, happenchance upon a minty-clean 730S, out of Bellingham,
Massachusetts, for $195 -- with a truly excellent hard-shell case, adorned
with some luxury appointments. As I would normally purchase a $100 case for
the guitar in any event, I reason that I got the guitar for $95. It would
so clearly represent one of the ‘best-value’ guitar purchases I
had made in my instrument-playing lifetime. So, with this, I didn’t
feel silly for buying this 3 year old guitar so soon after I impulse-purchased
the 700. Moreover, it would satisfy a passing curiosity I had about the upscale
version since I bought the 700 …
According to conventional guitar wisdom, while using different woods on the
back and sides can provide different sonic characteristics, this generally
applies to solid woods -- not laminated construction (not to be confused
with Yamaha’s solid tops). While the differing solid back and sides
of a Martin D18 and D28 can be easily discerned, laminated construction --
inclusive of the adhesives used to bind the layers -- generally inhibit such
distinctions. That is, for all practical purposes the 700S and 730S -- with
otherwise seemingly identical construction -- should sound fundamentally
the same. But … they don’t. Yamaha, again, had managed to coax
nuance and distinction from laminated construction techniques that
shouldn’t be there. But ... they are. And I’m not talking about
hyper-subtle distinctions …
The 730S has a sound that is, indeed, more ‘round’ and refined
than the 700, with additional textures happening around the fundamental tone
-- as well as having more body in the bass to lower mid-range region …
almost as if they had used … solid rosewood. Go figure. I wouldn’t
have believed it myself if I didn’t have the opportunity to string the
700 and 730 up with the identical string compliments -- even replicating
the bone saddle addition between the two guitars. TUSQ bridge pins were also
inserted into each.
So, with this, if your budget doesn’t stop at $200, is the 730S worth
an extra street price of $300? In a word, yes. That extra $100 buys more
sonic refinement -- clearly realizable, adorned in a package that ‘looks
the money’, as an old Jewish term would describe it. But remember, always
figure in another $100 for a case -- if not immediately, soon …
It should, perhaps, be noted that the particular 730S I was comparing had
three years of playing on it and, as such, the top was beginning to ‘open
up’ and refine -- relative to the 6 month old 700S. But the distinctions
I was hearing would be somewhat beyond a top that had only aged slightly.
I would, in fact, begin to wonder -- beyond the rosewood wrap -- if the spruce
top of the 730S was more “select”, relative to the 700. But then
I pondered if Yamaha would actually have people ‘tap-testing’
individual pieces of wood in a production guitar at this price level. Then
again, at current Chinese labor costs, they could theoretically have 20 ~
30 people on hand who did nothing but ‘tap-test’ the wood. You
decide.
In either event, with the 730S, things start to become real interesting,
prompting brave comparisons …
Comparison: Yamaha FG730S to Martin D16GT
and D18 …
As suggested in my article regarding guitar auditioning and selection, if
you’re asking how a particular guitar compares to a given Martin or
Taylor, you’re asking yourself the wrong question. The point to ponder
-- always -- is, “does this sound musical?”, whether the instrument
is coincidentally reminiscent of some other guitar -- or if it sounds like
a cross between a zither and a tack piano … That is, it’s best
to appraise any instrument on its own, individual merits.
Still, in this instance, I recognize that there are those who will naturally
wonder how a $300 six-string stacks up against guitars in the $1000 ~ $2000
street-price range. It’s the sizable distinction between price that
begs a question that I otherwise don’t advocate. I also don’t select
guitars on speculation as an investment vehicle, pondering what it may be
worth in the future. For those interested in the music, the returns are in
the here and now -- or should be …
With this, as a price to musical satisfaction return ratio, is a Martin three
to six times “better” than the $300 Yamaha? Without even a nanosecond
of hesitation, I can say, “no”, quite firmly. This is often the
case regarding a number of product offerings -- from microphones to automobiles
-- whereby coaxing a subtle refinement is the most expensive of propositions,
from engineering to execution.
With the above in mind, the ‘ratio comparison’ is quite predictable:
The Yamaha FG730S is certainly more impressive, relative to its $300 expenditure
than, say, the Martin D16GT is at the $1000 price tag (which, in turn, may
be regarded as a better bang for the buck than the D18 at almost twice the
price). Indeed, at least part of one’s giddiness over the Yamaha is
that it only cost $300.
But putting the name on the headstock and price aside (as one should, in
the comparative ideal), the Yamaha FG730S is simply a fine sounding instrument
-- different, yes, than a dreadnaught Martin, but one that holds its own
on its own merits. The Martins, for example, have a little more authority
in the bass -- with some added ‘undertones’ (as I compare to an
older Martin, more broken-in). But the ‘low-E’ on the Yamaha has
a bit more “ring” to it, as if married to a brass bell. Which do
you prefer? That depends upon you -- as well as the requirement of the moment
…
The differences are somewhat akin to a Steinway and a similar piano offered
by … Yamaha. While individual Steinways actually vary quite a bit in
character -- to the extent that it often comes down to the individual serial
number -- they are more generally thought of as being ‘darker’
and somewhat subdued in tone. Yamaha grands, however, are generally brighter
and more punchy -- making their way into the studios for their ability to
cut through a dense ‘pop mix’, layered with synthesizers and electric
guitars. Both pianos -- Steinway and Yamaha -- have their adherents, and
their distinct applications. I apply similar notions relating to Martin and
Yamaha guitars. In fact, in the past, where two acoustic guitar parts were
called for -- particularly when arranged with close, overlapping parts --
I would record one on a Martin, with the other on an “old FG Yamaha”.
Even if channel-summed in mono, the individual parts had better separation
-- or distinction. Better, in fact, than slightly ‘pitch shifting’
the two parts using the same guitar. And the recording wasn’t any the
lesser for using the ‘lesser’ guitar as 50% of the contribution.
I wouldn’t be the first to do this, by the way, in the most professional
of studio environments. Today, a similar approach will now be used with the
newer Yamaha FG730S (as well as the 700S, by the way). Summarily, I think
of the two guitars (Yamaha and Martin) as being quite complimentary.
Now, for those who have taken a moment to consider my sonic descriptions,
you may well have arrived at this conclusion: That these Yamahas sound, perhaps,
more Taylor-like than Martinesque. There, now I’ve offended both Martin
and Taylor owners in my dare-to-compare analysis. Twisted, aren’t I?
The principles above and, indeed, the entirety of this article may reflect
my most telling comparison between the Yamaha and more expensive guitars.
I simply take the Yamahas with all of the seriousness I would apply to most
any Martin sitting across the room. They get the very same care and attention,
from tweaking to temperature and humidity management. The Yamahas, after
all, deserve it. You may consider that as a telling endorsement ...
In Consideration of Others
…
As I looked over the personal accounts of others on the Internet, I often
encountered two general groups of ‘appraisers’: The Boastful and
The Timid. When I would read personal reviews of the Yamaha that proclaimed
the likes of, “Blows away the Martin D28!”, I have to greet such
enthusiasm with a certain degree of dismissal. I’m willing to accept
that one might, perhaps, prefer the general tonal character of the Yamaha,
relative to a particular Martin. But I resist taking any review that includes
the citation of, “blows away” seriously -- relating to any guitar
review or comparison. Still, I’m sure Yamaha appreciates their enthusiasm.
Others come across as being seemingly shy or timid -- apologetic, even --
about liking a Yamaha FG, as if fearing online ridicule for proclaiming that,
“this thing sounds really, really good.” They’ll go there,
yes -- but temper it with, “a great guitar for beginners or intermediate
players”. Yes, it does take a reasonable degree of self-confidence to
say that a production guitar, assembled in China, is so good. And yes, it’s
easier when you already have some high-end guitars on tap, with nothing to
prove -- except for those who, having already spent $3000 on their ... whatever
… need to believe that it still ‘blows away’ the Yamaha,
dismissing their inexpensive purchase as a mere “campfire guitar”.
But I did read one personal review from a Taylor owner who, upon purchasing
the less expensive Yamaha FG700S for camping and beach adventures …
and after restringing it with Elixirs, coincidentally … put it like
this: That the Yamaha was far better sounding than any $200 guitar had a
right to sound. Good summation -- one that’s accurately descriptive.
Yet others offer views that might be too ‘definitive’ in their
appraisal, such as, “the best guitar south of $700.” … I tend
to reject the word, ‘best’, relating to most things -- particularly
to items that are so subject to subjective evaluation. Allow me to suggest
something more conservative in tone: If you’re looking at guitars priced
at, say, $500 and below, the Yamaha FG series -- any one of them -- is certainly
worthy of putting on your short list. At $700 -- or rather, at $750, I’d
be putting the handcrafted Yamaha LL16 on the list in the ‘under $1000
category’ . They’re real nice. Some do freely compare them to $2000
acoustics (Yamaha does, indeed, also produce guitars with a $3000 street
price, by the way … up to over $10,000). The bummer of the LL series
is that you may not as readily find them in town, for those situated exclusively
in The States. In the UK -- particularly around London -- the handcrafted
Yamahas are far easier to be had … or seen … or heard. But I digress,
as we’re talking about a $200 ~ $300 Yamahas here … But I will
say this: The Yamaha 730S, in particular, does overshadow some guitars --
indeed, several guitars I’ve played -- in the over $1000 category (without
naming names). Need I be more succinct?
For Whom The String Tolls
…
It’s here that I’ll make some solid recommendations for two groups
of guitar purchasers: ‘The Starter’ and ‘The Ebay Crowd’
… without, in any way implying that the Yamaha FGs should be exclusively
reserved for the inexperienced. The entirety of this article should tell
you otherwise.
But for those who have been considering the Costco-featured,
‘Gig-Maker’ packages from Yamaha (boxed with ‘Eterna’
or ‘F Series’ guitars -- not ‘FGs’), I implore you …
Forget the extra picks, spare strings, strap, ‘gig bag’, and
instructional video -- you can pick up any of these later. And any Casio
keyboard you have laying around the house can be your ‘electronic
tuner’ -- or even a $6 pitch pipe available at any music store, in addition
to a variety of ‘online tuners’ available on the Internet for free.
It’s not that the ‘Gig-Maker’ guitars are outright bad --
they’re not. It’s just that putting in an extra $50 ~ $60 can purchase
a truly better instrument in the $200 Yamaha FG700S -- one that may be regarded
as ‘a keeper’, even if you get that Martin D28 someday. Save up
the extra $60, if you have to. The additional good news of spending only
$200 on your guitar is that it won’t have a sizeable trade-in value.
This should encourage you to do the right and sensible thing in the future,
if you ever consider purchasing an ‘exotic’... Keep the Yamaha.
It’s a truly worthy instrument that you may still refer to after your
$2500 expenditure. Further, this is not to imply that everyone should always
long for expensive guitars. The Yamaha FG series can surely be with you for
years upon years, exclusively, as a very nice sounding instrument (if you
take reasonably good care of it).
Now for The Ebay Crowd … Okay, I know that there are many who are highly
enamored of their old, laminated, ‘Red Label’ Yamahas. As a longtime
owner of the same, I understand the ‘Karmic Connection’ to these
guitars … as well as certain qualities that can be supported, both
objectively or subjectively. If you own them, enjoy them, by all means. But
for those of you considering a drop of $400 to $500 for some of these old
Yamahas, I do recommend that you consider what Yamaha is serving up now in
their ‘FG730S’. At the least, don’t be entirely dismissive.
For less than the eBay price, you get to see the actual guitar, locally --
one without the scratches and dings that eBayers promote as having ‘that
great vintage look’. You won’t have to worry about an expensive
neck reset, and further … there’s no need to wonder if that Yamaha
was once subjected to the pubescent polishing with Windex and Turtle Wax
(even though they miraculously seemed to survive such treatments) …
Moreover, you get to actually play it -- and hear it. Respectively put aside
the people so in love with their old ‘Red Labels’ (that ‘blow
away any Martin’, as told), they actually hear the new offerings as
being woefully ‘deficient’. This, to some extent, is fueled by
romance …
In truth, the newer FGs have, indeed, benefited from construction parameters
borrowed from Yamaha’s handcrafted ‘L Series’. There’s
no doubt in my mind -- or ear -- about it. Further, you’ll be getting
a guitar with a solid spruce top -- one that will improve in time, likely
more so than an old, laminated ‘Yammie’ (as Yamaha owners often
call them). Yes, it’s true that -- back when -- Yamaha managed to coax
things out of laminated tops that few others were able to so successfully
achieve, as if by some sort of black magic. But still, these newer, post-2005
‘FGs’ -- particularly the 730S -- represent some of the best Yamaha
has yet achieved in this long-loved series of guitars.
In truth, it would be real nice to have both -- an old, intelligently selected
FG Yamaha … along with the newer FG730S. Each genre and vintage has
its distinct merits, to be covered more in my ‘Classic Yamaha’
articles.
Parting Notes …
Some may wonder if I simply happen-chanced upon a particularly sweet samples
in my off-the-rack grabs. After all, even with the general consistency that
Computer Numeric Controlled production affords, there is always a notable
variable: The tree. Indeed, I briefly entertained the possibility as there
were some visual indicators that suggested one particularly nice piece of
spruce -- on both of the new Yamahas.
Some months later, I would return to the same music store and sample yet
another, off-the-rack FG700s. To really make a valid comparison, I would
have to bring my own sample in (after returning it to factory spec, with
the original setup, saddle and bridge pins). And, even with this, I’d
have to load both guitars with the same strings. But the general character
of the newer, in-store sample remained quite similar -- very much as I remembered
my initial impressions, some months earlier, with my personal sample. With
this, I would feel reasonably confident in purchasing another one, if I were
so inclined. Moreover, I remain confident in recommending these $200 ~ $300
guitars to most anyone -- even to those who own guitars with their own, dedicated
insurance policies.
And, indeed, the Yamaha 730S has since become among my favorite guitars in
my collection, with no particular consideration of its $300 price tag.
Enough said.
... Recorded Sound Sample Coming in The Days Ahead
...
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