Archive for ‘sähkokitara’

20/03/2018

Review: Halla Custom Hallabird

I first saw the Halla Custom Hallabird at this year’s Tonefest, where luthier-artisan Ville Mattila displayed it alongside its bass brother.

It was actually the bass that served as the original impetus for the Hallabird. Ville had made a slightly Gibson Thunderbird-influenced bass for his own use. The bass got so much positive attention that Ville decided to put more bread on the water, which is why he developed a guitar model along the same design ideas.

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The Halla Custom Hallabird (3,700 €; including case and more, see below) is a handmade neck-through guitar with a flawless clear finish.

The through neck is made from nine long strips of wood – African mahogany (khaya ivorensis) offset with walnut. While the neck construction follows Gibson’s lead, the Hallabird takes its own path when it comes to scale length. This custom guitar comes with an extra long scale length of 67 cm (that’s approximately 26.37 inches for our Imperial readers).

The streamlined body wings have been crafted from khaya, too.

The Hallabird comes equipped with black Gotoh-hardware. This guitar also sports a brass nut to insert a little brightness into the open strings. This is probably the smoothest brass nut I’ve seen in my guitar-playing life.

Access to the two-way truss rod is from the headstock end on this Halla Custom guitar.

Twenty-four gleaming Jescar Evo jumbo frets have been installed into the Hallabird’s ebony fingerboard. The fretwork is nothing short of excellent – this is one of the areas where a handcrafted guitar tends to outshine production models, regardless of their price.

Gotoh’s hardware is known for its consistently high quality, and the Hallabird’s TOM-bridge and stopbar are no exception.

Ville Mattila mostly uses his own pickups in his Halla Custom guitars. The Hallabird comes equipped with a pair of handmade P-90s, niftily placed inside EMG-style plastic covers. The pickups are reverse-wound/reverse-polarity, meaning they act as a humbucker, when used together. The pickups’ golden polepieces look great with the Jescar EVOs and the khaya mahogany.

The Hallabird’s electronics are a little bit different than what you’d expect, judging by the knobs. There’s a three-way toggle for pickup selection, as well as a master volume control (sans treble bleed). What looks like a tone control is in fact what Ville calls a three-way impedance rotary. While the rotary switch minutely changes the treble content of the overall signal, it clearly influences the volume control’s roll-off taper. This allows you to fine-tune the way the guitar’s volume control reacts to your playing style and your amplifier.

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Halla Custom’s Hallabird is one heck of a guitar. It is one of these rare cases, where a new design manages to look classic and fresh at the same time. A guitar that is understated, yet flashy. The quality of workmanship is excellent down to the smallest details.

The Hallabird is very lightweight, making it an ideal choice for long sessions or gigs. Thanks to the guitar being a non-reverse design, the Hallabird balances very nicely despite its longer-than-usual neck.

The neck profile is reassuringly round and chunky, without feeling clunky or unwieldy. Thanks to the outstanding fretwork the Hallabird came with a setup that made a set of 010s feel very slinky, even on the extra long scale neck. I’m quite sure many players won’t even notice the extra scale length, but if you wanted to order something more ordinary, I’m sure that Ville would happily oblige.

Acoustically, the Hallabird displays a piano-like attack with a long and even sustain. Note separation is excellent, even with complex chords, and there’s a great balance between warmth and clarity.

P-90s are a fantastic choice if you need humbucker-type power and girth, coupled to a single-coil’s dynamics. Even though its looks are probably a little ”too Rock”, the Hallabird can glide effortlessly into Country and Jazz mode, and then turn into a Rock machine at the proverbial drop of a hat.

These two clips have been recorded using a 1980s Boss SD-1 and a Bluetone Shadows Jr. boutique combo:

For the demo song I used a 1980s Ibanez SC10 chorus pedal on the rhythm guitars, and a Morley M2 Wah for the lead, through the Shadows Jr.:

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Halla Custom’s Hallabird is a great-sounding and classy-looking guitar, made by somebody who clearly knows what he is doing. Don’t be fooled by the Classic Rock looks – this is a very versatile instrument for the discerning player.

Naturally, handcrafted quality like this never comes cheap. This is a true boutique guitar, made by a trained luthier-artisan highly dedicated to his craft.

****

Halla Custom Hallabird
Handmade neck-through electric guitar

3,700 € – includes hard case, high-end guitar cable, quality strap (with Schaller locks), one free setup (after 6-12 months of use), and lifetime tech support

Contact: Halla Custom Instruments

Pros:

+ handcrafted in Finland

+ workmanship

+ playability

+ sound

****

Halla Customs’ Ville Mattila is a member of the Guild of Finnish Luthiers.HmSave

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19/03/2018

Nyt myös Suomessa – Chapman Guitars

Musamaailman tiedote:

Chapman Guitars tulee!

”Greetings, I’m Rob Chappers!”

Nämä sanat ovat tärähtäneet kitaristien tärykalvoille Rob Chapmanin YouTube-kanavasta jo yli 200 miljoonaa kertaa.
Nyt meillä on ilo ja kunnia ilmoittaa, että miehen perustama Chapman Guitars -kitaramerkki rantautuu Suomeen Musamaailman maahantuomana! Vielä tämän kuun aikana meille tulee mahtavia Chapman ML1 Pro Modern- sekä Chapman ML3 Pro Modern -kitaramalleja. Myöhemmin kesällä valikoima laajenee lisää.

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08/03/2018

Now on Soundcloud: Halla Custom Hallabird

Halla Custom Hallabird
Handmade neck-through electric guitar

• Made in Finland
• 9-stripe khaya/walnut through-neck
• khaya body wings
• long scale – 67 cm/ 26.37″
• ebony fingerboard
• brass nut
• 24 Jescar Evo frets
• two-way truss rod
• black Gotoh hardware
• two Halla Custom P-90 pickups
• three-way toggle, master volume, three-way impedance switch
Contact: halla.tv/

Amp used – Bluetone Shadows Jr.
Pedals used – 1980s Ibanez SC10 Chorus (rhythm guitars), Morley M2 Wah (lead guitar)
Mic used – Shure SM57

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27/02/2018

Testi tulossa ++ Working on a review ++ Halla Custom HallaBird

Contact: Halla Custom Instruments

06/02/2018

Review: Tokai TJM-140

We at Kitarablogi HQ received a very special instrument for review this time – the new Tokai TJM-140, which is based on Fender’s Jazzmaster.

When the original Jazzmaster was released in 1958 Fender aimed it squarely at Jazz and Lounge musicians, who had found the company’s earlier offerings much too bright and Country-sounding. The Jazzmaster also was Fender’s first model with a rosewood fingerboard, something their sales force had been requesting for years (for cosmetic reasons).

Sadly, the new model wasn’t received very enthusiastically. Most Jazz guitarists still felt that Fender guitars were nothing more than mere breadboards with strings, while others complained that the new control setup was too complicated. A shame, really…

Over the last years Jazzmaster-type offset guitars have definitely become en vogue again. Thanks to this trend Tokai, too, has decided to come up with its own version of this guitar classic.

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The Tokai TJM-140 Silver Star (reviewed version: 1.495 €; basic model: 1.445 €) is a top-quality Japanese rendition of the Jazzmaster model, which stays faithful to the original classic in most respects, with a few modern improvements. The review sample has been customised further with a set of Seymour Duncan Antiquity pickups.

Tokai’s TJM-140 strongly channels an early-Sixties spirit – this guitar comes with the original, small Fender-style headstock, as well as an unbound rosewood fretboard with small dot markers.

Beneath its classy Olympic White finish the curvaceous body is crafted from alder, while the satin-finished neck is maple.

Putting the truss rod adjustment at the headstock end is one of the welcome improvements on the TJM-140.

The Tokai sports a set of fine Kluson copies made by Gotoh.

This model comes with 22 medium-sized frets. The fretwork is very clean.

Leo Fender had a thing for vibratos, which he called tremolos. For the Jazzmaster he came up with a special new system. The Jazzmaster-vibrato (which was later used on the Jaguar, too) comprises a front-installed vibrato/tailpiece-combination, paired with a separate bridge. The bridge stands on height-adjustable poles inside long ferrules, and it rocks slightly back and forth during vibrato use. The Tokai Silver Star uses a well-made Japanese copy of the original system.

You don’t need to be a guitar expert to see that Leo Fender was aiming for a Gibson P-90-vibe with his flat and wide Jazzmaster pickups. Both the P-90 and Jazzmaster pickup have similar coils, but their magnetic structure puts them apart. Gibson’s P-90 uses two long bar magnets placed underneath the coil, either side of a metal spacer, to magnetise its pickup. Fender, on the other hand, uses six slug magnets, which also serve as the pickup’s pole pieces.

The pickups in Seymour Duncan’s Antiquity-set are reverse wound/reverse polarity, resulting in a hum-cancelling middle position on the toggle switch.

The special feature of Jazzmasters is the so-called rhythm circuit. The slide switch above the neck pickup switches between the lead and rhythm circuits. In rhythm, only the neck pickup is selected, with a slight treble roll-off and its own set of volume and tone control wheels.

The solo circuit uses the regular set of controls – a three-position toggle, plus master volume and tone. Each circuit works independently of the other’s settings.

****

In my view, every guitarist should try a Jazzmaster- or Jaguar-style guitar once in his/her life, just to experience that comfortable offset body. Some players feel that the offset waist of a Jazzmaster is even more ergonomic that a Strat.

The Tokai TJM-140 is a fine example of a Jazzmaster-style guitar. Our test sample is light in weight, the neck’s oval C-profile feels great in your hand, and the guitar arrived with an expert setup.

Still, the Jazzmaster-vibrato will continue to divide opinions for the foreseeable future. The push-fit vibrato arm isn’t as foolproof as the screw-in Stratocaster arm, and it tends to swing rather loosely, when not in use. With a contemporary string set of 009- or 010-gauge you will probably run into some problems sooner or later, due to the shallow string angle over the bridge. Forceful strumming and/or large bends tend to cause light string gauges to jump out of the bridge saddles’ grooves, spoiling your setup and tuning in the process.

You cannot blame the Tokai TJM-140 Silver Star for using a faithful copy of the original vibrato, because this guitar is meant to be a vintage-inspired instrument. Nevertheless, it’s important to know about any possible pitfalls and solutions.

The easiest way to get a Jazzmaster-vibrato to play nicely is to use the correct string gauges of the late 1950s – read: flatwound 011s or 012s with a wound g-string. If this seems unbearable there’s always the screw-on Whizzo Buzz Stop, a Bigsby-style roller that adds much-needed downward pressure at the tailpiece. Others like to take the far more drastic step of replacing the whole Jazzmaster-system with a Mastery-vibrato, a replacement made specifically for use with modern strings.

Tokai’s TJM-140 Silver Star nails the Jazzmaster tone like a champion. The Antiquity pickups give you lots of chime and sparkle, but the top end is much warmer than on a Strat, and there’s a nice dose of mid-range chunk. The rhythm circuit rolls off a little bit of the neck pickup’s treble, but still keeps things from going all dark and muddy.

Here are a few clips of the Tokai TJM-140, recorded with a Bluetone Shadows Jr. combo, a Boss SD-1 overdrive and a Shure SM57:

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Tokai’s TJM-140 is a pro quality Japanese version of the Fender Jazzmaster. The Tokai plays and feels great, and its sound really leaves nothing to be desired. The original Jazzmaster-/Jaguar-vibrato might become a deal-breaker for some, but I feel the original system adds a lot to this guitar’s sound and mystique. Tokai uses a high-quality copy of the original vibrato, which works as smoothly as it should. Taking this instrument for a spin is highly recommended!

****

Tokai Guitars TJM-140

Price with Antiquity pickups: 1.495 €

Distribution: Tokai Guitars Nordic

Pros:

+ workmanship

+ playability

+ sound

+ idiosyncratic vibrato system

Cons:

– idiosyncratic vibrato systemSave

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25/01/2018

Testipenkissä: Tokai TJM-140

Tällä kertaa Kitarablogi sai hieman erikoisemman herkkupalan testattavaksi – Fender Jazzmasteriin perustuva Tokai TJM-140.

Kun alkuperäinen Jazzmaster ilmestyi vuonna 1958, Fenderillä oli tähtäimessä Jazz- ja Lounge-musiikin soittajat, joiden mielestä firman aikaisemmat mallit soivat aivan liian terävästi ja kantrimaisesti. Jazzmaster oli myös ensimmäinen Fenkku, jolla oli ruusupuusta veistetty otelauta (jotain, jota firman myyntitiimi oli jo pidemmän aikaa toivonut ulkonäöllisistä syistä).

Valitettavasti uuden huippumallin vastaanotto oli suhteellisen vaisu. Monille Jazz-kitaristeille myös Fenderin uutuusmalli näytti kielillä varustetulta leipälaudalta, ja alkuinnostuksen jälkeen monet sen aikakauden soittajista pitivät kitaran elektroniikkaa turhan monimutkaisena, mikä oli sääli.

Viime vuosina Jazzmaster-tyyliset offset-runkoiset kitarat elävät uutta nousukautta, minkä ansiosta myös Tokai on päättänyt julkaista oman versionsa kitarasta.

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Tokai TJM-140 Silver Star (testattu versio 1.495 €; perusversio 1.445 €) on hyvin laadukas japanilainen tulkinta Jazzmaster-teemasta, joka pysyy kaikissa pääasioissa uskollisena alkuperäiseen klassikkoon, muutamalla hyvin perustellulla nykyaikaisella parannuksella. Testiyksilöä on lisäksi kustomoitu testiä varten erittäin laadukkailla Seymour Duncan Antiquity -mikrofoneilla.

Tokai TJM-140:ssä elää vahvasti varhaisen 1960-luvun henki – tässä mallissa on alkuperäinen pieni viritinlapa, sekä ruusupuinen otelauta ilman reunalistoitusta ja pienillä pyöreillä otemerkeillä.

Olympic white -tyylisen viimeistelyn alta löytyy kurvikas leppärunko, kun taas mattaviimeistelty kaula on veistetty vaahterasta.

TJM-140:n kaularautaan pääsee kätevästi käsiksi lavan puolelta, mikä on erittäin tervetullut parannus.

Tokain laadukkaat Kluson-kopiot tulevat Gotohin valikoimasta.

Otelautaan on siististi asennettu 22 medium-kokoista nauhaa.

Leo Fender kehitti Jazzmasteria varten uuden vibratojärjestelmän. Jazzmaster-vibrassa (jota käytettiin myöhemmin myös Jaguarissa) on edestä runkoon upotettu veitsenterä-laakeroitu kieltenpidin, sekä erillinen talla, joka keinuu runkoon upotetuissa metalliholkissa hieman edestakaisin, silloin kun vibratoa käytetään. Tokai Silver Starissa käytetään järjestelmästä tarkkaa japanilaista jäljitelmää.

Jazzmaster-mikrofoneja voi hyvällä omatunnolla pitää Fenderin versiona Gibson P-90 -mikrofonista. Molemmissa mikkimalleissa on hyvin leveät, mutta suhteellisen matalat kelat. Mikrofonien magneettikenttien rakenteet kuitenkin poikkeavat toisistaan: Gibson käyttää P-90:ssä kahta pitkää ja matalaa harkkomaista magneettia kelan alla, kun taas Jazzmaster-mikissä on kuusi lyhyttä, kelan läpi menevää tankomagneettia.

Seymour Duncan Antiquity -setissä tallamikrofoni on kaulamikrofoniin nähden käämitty vastasuuntaan ja sen magneetit ovat ylösalaisin (reverse wound/reverse polarity), minkä ansiosta mikeistä muodostuu yhteiskäytössä humbucker.

Elektroniikan erikoisuus on Jazzmaster-kitaroihin lisätty erillinen ns. “komppi-piiri”. Kaulamikrofonin yllä olevalla liukukytkimellä voi kytkeä TJM-140-mallin ns. soolotilasta komppitilaan, jossa ainoastaan kaulamikki on päällä, ja sen signaali menee tällöin kytkimen viereen pleksiin upotettuihin volume- ja tone-säätimien läpi.

Soolotilassa taas kitaran soundia säädetään sen sijaan soittimen perinteisellä kolmiasentoisella kytkimellä, sekä master-volumella ja -tonella.

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Minun mielestäni jokaisen kitaristin pitäisi ainakin kerran elämässään kokeilla Jazzmaster- tai Jaguar-tyylistä kitaraa, niiden mukavan offset-rungon takia. Joidenkin mielestä näiden mallien epäsymmetrinen vyötärö ja pyöristetty olemus tuntuu jopa Stratoa mukavammalta.

Tokain TJM-140 on malliesimerkki mukavasta Jazzmaster-tyylisestä kitarasta. Testikitara on suhteellisen kevyt, kaulan ovaali C-profiili istuu todella hyvin käteen, ja kitara saapui testiin esimerkillisillä säädöillä.

Jazzmaster-vibrato tulee kuitenkin jatkossakin jakamaan käyttäjien mielipiteitä. Paikkaan työnnettävä vibrakampi ei ole aina niin toimintavarma kuin ruuvattava Strato-kamppi, ja se repsottaa myös melko löysästi mekanismissa. Jos taas on tottunut käyttämään nykyaikaisia 009- tai 010-kielisatseja vibrajärjestelmän loivasta kielikulmasta tallassa voi koitua ongelmia. Raskas plektrakäsi ja/tai isot bendaukset voivat johtua suhteellisen ohuilla kielillä siihen, että yksi kuin toinenkin kieli voi hyppiä välillä pois tallapalan urasta, mikä vaikuttaa sitten suoraan kitaran vireeseen ja soittotuntumaan.

Tokai TJM-140 Silver Staria ei oikein voi kritisoida vibraton toiminnasta, sillä kitaran tarkoitushan on olla tarkka kopio alkuperäisestä klassikosta. On kuitenkin tärkeää, että tietää näistä mahdollisista ongelmakohdista ja niiden ratkaisemisesta.

Helpoin tapa ratkaista Jazzmaster-vibran ongelmat on käyttää 1950-luvun kielikokoja – siis: 011- tai 012-satseja punotuilla g-kielillä. Jos tällainen tuntuu liian karulta voi vibramekanismin eteen helposti lisätä (ruuvaamalla) Whizzo Buzz Stop -nimisen Bigsbyn-kaltaisen rullan, joka lisää kielten alasvetoa, mikä pitää kitaran kielet paremmin talapalojen urissa. Jos lisärulla ei miellytä jostain syystä, voi myös korvata alkuperäisen järjestelmän Mastery-vibratolla ja -tallalla, jotka on suunniteltu nykyaikaisia kielisatseja varten.

Myös soundiltaan Tokai TJM-140 on erinomainen lajinsa edustaja. Antiquity-mikeillä kitara soi heleästi, mutta paljon lämpimämmin kuin esim. Strato-tyylinen kitara. Komppi-piiri leikkaa tahallaan kaulamikrofonin signaalista hieman diskanttia, mutta ilman että soundi muuttuisi mutaiseksi.

Tältä kuulostaa Tokai TJM-140 Bluetone Shadows Jr. -kombon ja Boss SD-1 -särön kautta soitettuna:

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Tokain TJM-140 on hyvin laadukas japanilainen versio Fender Jazzmasterista. Tokain soittotuntuma on erinomainen ja sen soundi ei todellakaan jätä toivomisen varaa. Alkuperäinen Jazzmaster-/Jaguar-vibra tulee varmaan jatkossakin jakamaan kitaristien mielipiteitä, vaikka Tokai-kitarassa on käytössä laadukas versio alkuperäisestä. Vibraton pehmeässä soundissa ei kuitenkaan ole mitään vikaa. Suosittelen koeajelua!

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Tokai Guitars TJM-140

Hinta Antiquity-mikeillä 1.495 €

Maahantuoja: Musamaailma

Plussat:

+ työnjälki

+ soitettavuus

+ soundi

+ omintakeinen vibrato

Miinukset:

– omintakeinen vibratoSave

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23/01/2018

Tokai TJM-140 – The Kitarablogi video

Lisätiedot: Musamaailma

19/01/2018

Guitar Porn: Tokai TJM-140

Lisätiedot: Musamaailma

10/01/2018

Tokai TJM-140 +++ Testi tulossa +++ Working on a review

Tokai TJM-140

Japanese copy of a Fender Jazzmaster. The test guitar came upgraded with a set of Duncan Antiquities.

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All guitar tracks recorded with a Bluetone Shadows Jr. combo, a Boss SD-1 Overdrive pedal, and a Shure SM57 microphone.

Lisätiedot: Musamaailma

12/12/2017

Review: Tokai TST-50 Modern

Tokai Guitars’ extremely well-made Japanese – uhm – tributes to classic electric guitars from the 1950s and ’60s were one of the main reasons why industry giants, such as Fender and Gibson, started their own Far Eastern brands, like Squier and Epiphone, in the Eighties.

Yet Tokai doesn’t cling slavishly to the past, instead the company is also regularly coming up with up-to-date versions of their best-loved models. Their newest updated Strat-style electric is the Tokai TST-50 Modern (999 €; comes with a hard case), which was developed in cooperation with Tokai Guitars Nordic.

****

You could be forgiven to think the TST-50 Modern was a cracking 1960s reissue model at first glance, especially as some of the basic ingredients are virtually identical:

We find a bolt-on maple neck with a rosewood fretboard, and a premium class alder body adorned with a beautiful two-tone sunburst finish.

But a closer look at the headstock gives us a clue that this isn’t a run-of-the-mill TST-50:

A bullet truss rod adjuster on the TST-50 Modern allows you to tweak your neck relief without having to detach the neck from the body, as on vintage style S-type guitars. But despite the bullet truss rod, Tokai have chosen – wisely, in my opinion – to stick with the original four-screw neck attachment.

The Tokai TST-50 Modern comes with a 9.5 inch fingerboard radius, which means that the feel is slightly flatter than on vintage Stratocasters (that usually feature a 7.25 inch radius), but still more curved, and thus more Fender-ish, than Gibson’s flatter 12 inch radius. The TST-50 Modern also sports chunkier frets (Dunlop 6105), making it easier to play than the thin wire used on vintage originals. In combination with the flatter fingerboard radius the bigger frets also make string bending a great deal less work. As a final flourish this models gives you an additional fret (22 instead of 21).

The classic six-screw Stratocaster vibrato bridge was a huge engineering achievement back in 1954. No other vibrato offered that much travel, coupled with excellent sound and very fair return to pitch.

Now – 60 years later – many players do look for an even smoother and more precise ride, than what the vintage model can offer. For these guitarists the Tokai TST-50 Modern offers a modern, two-post vibrato bridge – the Gotoh 510T model.

Gotoh’s 510T-vibrato comes with the company’s groundbreaking FST-block. The string channels inside the FST-block have been drilled much deeper than in a vintage block, which anchors the ball ends much closer to the bridge plate. The strings then pass the bridge plate at a shallow angle, without being pressed hard against the plate’s sharp edges. Thanks to Gotoh’s FST-system the vibrato’s return to pitch is improved vastly, because the strings’ ball ends stay in place firmly. Additionally, this system cuts down significantly on string breakages due to friction between the strings and the bridge’s base plate (like normally seen on vintage Strat bridges).

When it comes to its pickups and control layout, Tokai’s TST-50 Modern follows a classic footpath – a trio of Tokai’s acclaimed Vintage ST pickups, along with a five-way switch, a master volume, and tone controls for the neck and middle pickups. Hidden beneath the three-layer scratchplate there’s a humbucker routing, in case you want to customise you guitar further.

****

Vintage or modern, fans of Strat-style guitars expect a high level of ergonomics from their instrument, and Tokai’s Japanese TST-models never disappoint. All the body contours have been copied from the famous 1957/58 originals – it doesn’t get any more streamlined than this.

The satin-finished neck features an oval C-profile, which is just the Sixties-type of neck shape I enjoy the most on an S-style guitar. Thanks to the flatter fretboard radius and the medium-jumbo frets, the playing feels of the TST-50 Modern is similar to that of a well-loved, much-played, and refretted vintage model (but without any scratches or dents, of course).

The Gotoh 510T vibrato works like a dream. It’s smooth and precise, but doesn’t add any unwelcome metallic overtones or sharpness to the sound (unlike some Floyd Rose bridges).

The Tokai TST-50 Modern sounds like a top-drawer Strat should.

Here’s a clip with the Tokai TST-50 Modern plugged into a hand-wired Tweed Champ clone (a Juketone True Blood):

I’ve used Electro-Harmonix’ Germanium 4 Big Muff Pi and Nano Big Muff Pi pedals on the demo track (in addition to the Tokai and a Blackstar HT-1R valve combo):

****

Gear reviewers often face criticism for not ”dishing the dirt” on the equipment they test, but in the Tokai TST-50 Modern’s case there isn’t really anything negative to write about. This is an extremely well-made updated version of the most famous electric guitar of them all. The Tokai combines modern playability with delicious vintage sounds.

****
Tokai Guitars TST-50 Modern

999 € (quality hard case included)

Finnish distribution: Musamaailma

Pros:

+ Japanese craftsmanship

+ sensible updates

+ playability

+ sound

+ outstanding value-for-money

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