So, you want to buy an electric guitar? Let Kitarablogi.com help you find the guitar that’s ”the right one” for you.
There are a few things you should think through in advance, before setting out to your local guitar shop.
**** What guitar do I really want/need?
• The way you feel about a guitar’s looks and design can be an important factor in making a buying decision, and the same goes for the guitar your favourite artist plays. There’s nothing ridiculous in choosing an instrument for its looks, as there’s always a psychological component to how you approach a guitar. If you really dig the way an instrument looks, you will want to play it, and play it more often. This goes the other way, too – if you feel your guitar is ugly, playing it won’t be as much fun.
• Nevertheless, the most important criterion for buying your guitar should be the style of music you plan to use it for. Yes, theoretically you can play any guitar in any style – as Ted Nugent proves by playing loud Rock on an all-hollow archtop (a Jazz guitar) – but if you choose the ”right” instrument for a musical style, it will make things much easier.
Here are some examples of musical genres:
++ Modern Metal: As you’re dealing with large amounts of volume and gain, the best choice would be a solidbody guitar, equipped with humbuckers. Some prefer active pickups, while others like traditional passive designs more. Lead guitarists often go for a model equipped with a locking vibrato system, like a Floyd Rose.
As many bands in this genre use lower than standard tunings, you could consider opting for a seven-string model (which offers an additional lower string), or even go full-out for a baritone electric.
++ Jazz: Most Jazz guitarists like to stay in the traditional sonic space offered by all-hollow archtops or semi-solid ES-335-type guitars. The preferred pickup choices are humbuckers and P-90s.
++ Blues: Blues musicians use a wide variety of different guitars, depending on their personal taste. Here the most important thing is that you feel comfortable with your chosen instrument, in order to express your feelings without being hindered by your guitar. Locking vibratos and active pickups are very rarely seen in Blues music.
++ Country: Traditional Country guitarists tend to drift towards guitar models with a lot of chime and bite in their tone. Very often this means Fender-style single coils or a Gretsch guitar. Over the past couple of decades there’s been quite a lot of crossover from Rock into Country music, though, which has lead to more variety in the choice of instruments in this genre.
++ Classic Rock: Traditional 1970s Classic Rock is built upon humbucker-equipped solidbody guitars, which offer enough grit and output for this genre. Think Les Paul, SG or Telecaster Deluxe.
++ If this is going to be your first electric guitar: If you’re a beginner, we would suggest choosing a model that won’t confuse you with a large array of pickup- and switching-options. A non-vibrato bridge would also be a welcome feature, as vibrato bridges are generally harder to set up and keep in tune.
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Set yourself a budget and stick to it!
• It is important that you set yourself a budget for your guitar shopping. If you have a good idea of your target price range, you will be able to sift through all the different guitars on offer much more quickly, by leaving out any models that are too expensive (or too cheap). This will make choosing your instrument a bit easier.
On string instruments, the fret spacing along the fretboard is calculated according to a mathematical formula. This formula is theoretical, though, and doesn’t take into account variables, such as string tension (tuning), string thickness (gauge) and string height (action). These variables make the actual pitch of a string, which is pressed down against a fret, deviate from the theoretically correct pitch. To compensate for this pitch offset, you need some sort of intonation adjustment that sets the correct intonation (or octave compensation) for each string.
On acoustic guitars correct intonation is achieved by an angled bridge saddle, often carefully shaped to fine-tune the compensation further.
Early electric guitars were basically modified archtop acoustics, which carried on using traditional rosewood (or ebony) archtop bridges with carved ”steps” presetting the intonation. Overall intonation adjustment was carried out by moving the whole bridge carefully closer to (or further away from) the neck.
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The advent of the – much clearer-sounding – solidbody electric guitar necessitated a more precise approach to the problem of intonation adjustment.
Leo Fender’s novel Esquire/Broadcaster/Telecaster-bridge featured a mounting plate for the bridge pickup, as well as individual action adjustment for each string, and octave compensation in string pairs.
Fender’s Telecaster bridge assembly plays a huge part in this model’s distinctive, twangy tone, laying the foundation for the model’s classic status.
Over the course of the 1950s and 60s, Fender experimented with different saddles – smooth brass, smooth steel, threaded steel, and steel saddles with a single notch per string – but the basic, three-saddle formula stayed firmly in place. You got fantastic tone, but not perfectly spot-on intonation.
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Twenty years after the original launch of Fender’s first solidbody electric, things had evolved.
In 1952 the original three-saddle bridge was less of a compromise, because the regular string sets of that time (012s or 013s) had a wound g-string. With a wound g-string the biggest step in intonation adjustment was between the b- and the g-string, and, as they were catered for by different saddles, a good, working compromise could be found.
By the late Sixties, ”slinky” string sets with plain g-strings had become the norm. This shifted the intonation step between the highest wound string and the lowest plain string onto a single, rigid bridge saddle (for the D- and g-string).
Fender retained the traditional three-saddle bridge on its standard Telecaster, but introduced six-saddle bridges on many of its new models in the Seventies. Pictured above is the six-saddle bridge from a (second version) Custom Telecaster (introduced in 1972).
Although this bridge finally offered perfect intonation, some players criticised this type of bridge for ”sounding” thinner (or brighter) than the original version. This might also have been due to changes in the precise specifications of the bridge pickup at that time, though.
More recent six-saddle designs by makers like Hipshot, Gotoh or Fender are based on a thicker bridge plate. These are perfectly serviceable, modern designs, which offer precise intonation. Many Tele-anoraks still steer clear of these bridge types, however, because the more rigid bridge plate tends to tame the bridge pickup’s twang noticeably.
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Another approach to better intonation on a Telecaster is to keep the twang-enhancing three-saddle ashtray bridge in place, but modify the saddles.
Pickup specialist Joe Barden came up with angled brass saddles in his design for the late Tele-master Danny Gatton.
Wilkinson’s and Graph Tech’s designs have two different, preset jump-off points per saddle – one for each string.
These three approaches (Barden, Wilkinson, and Graph Tech) work very well in providing good intonation, while keeping the Telecaster-tone intact, as long as you use string sets with a plain g-string.
If you want to retain your three-saddle twang, but want to have more freedom in choosing your string gauges, the best way to go are saddles with an angle adjustment. Good examples are Wilkinson’s replacement brass saddles (above), or this stainless steel Tele-bridge by Mastery.
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How come that the vintage-type Fender Telecaster, with all its intonation flaws, is still in production and still very successful? The answer is that people have always been creative in working out solutions to design shortcomings.
In the Telecaster’s case this means finding a way to ”sweeten” the guitar’s slightly flawed intonation.
Here are three (of a myriad of) possible approaches:
1.) The fifty percent approach
After you’ve put on a set of new strings, use your digital tuner to set the (12th fret) intonation correctly for both E-strings, as well as the g-string (I call them the most critical strings). Then tune your guitar by tuning the open E-strings and the g-string to pitch. The remaining three strings (A, D, and b) are then tuned, so that the pitch at the seventh fret is correct (giving you E, a, and f#).
The A-, D-, and b-strings will be a little off in their intonation going up (or down) from the seventh fret, but overall the pitch will be much sweeter, than if you had tuned these strings to their correct open string pitches. You can then fine-adjust your sweetening by ear, using first position chords as a reference.
2.) Tuner sweetening
After you’ve put on a set of new strings, use your digital tuner to set the (12th fret) intonation, so that each string pair is slightly off in an approximately even way. With the E- and A-pair this would mean that the E-string’s intonation comes out slightly sharp, while the A-string’s intonation is a tiny bit flat. The next pair would see the D-string a bit flat, while the (plain) g-string is a tad sharp. The last pair would have the b-string a bit sharpish, with the e-string a little flat. Then tune the guitar by tuning all strings, so the pitch is correct at the seventh fret.
Now all strings will be a little off in their intonation going up (or down) from the seventh fret, but overall the pitch will be much sweeter, than if you had tuned them to their correct open string pitches. You can then fine-adjust your sweetening by ear, using first position chords as a reference.
3.) Sweetening to the A
After you’ve put on a set of new strings, use your digital tuner to set the (12th fret) intonation, so that each string pair is slightly off in an approximately even way. With the E- and A-pair this would mean that the E-string’s intonation comes out slightly sharp, while the A-string’s intonation is a tiny bit flat. The next pair would see the D-string a bit flat, while the (plain) g-string is a tad sharp. The last pair would have the b-string a bit sharpish, with the e-string a little flat. Then tune your guitar by first tuning the open A-string to pitch. Next, tune all the other strings by ear, using the A-string as your reference:
• E-string at the fifth fret against open A
• D-string at the seventh fret against open A (or A-string 12th fret harmonic)
• g-string at the second fret against open A (or A-string 12th fret harmonic)
• b-string at the tenth fret against open A (or A-string 12th fret harmonic)
• e-string at the fifth fret against open A (or A-string 12th fret harmonic)
You can then fine-adjust your sweetening by ear, using first position chords as a reference.
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Remember, none of the above tuning tips is set in granite. Tuning and intonating a three-saddle Telecaster is a dark art, and most players have developed their own way of sweetening their guitar’s intonation. Let your ears be your guide!
TheItalia Fiorano Standard (price in Finland approx. 640 €) is a beautiful thinline, double-cutaway semi.
The Fiorano’s body is made by routing large pockets into the front of a solid mahogany body. In contrast to Italia’s Rimini 6 or Mondial Deluxe models the Fiorano doesn’t have a full centre block, though, but features an opening in the block between the guitar’s pickups. The body is then finished by glueing on a bound spruce top.
Hard rock maple is used for the Fiorano Standard’s neck.
The modern tuning machines are embossed with the I-for-Italia logo, and work very nicely.
The bound fretboard sports Italia’s stylish inlays, consisting of pearloid blocks and abalone dots.
The Fiorano Standard’s neck is glued in at the 19th fret.
Great to see Italia using a modern version of the venerable Tune-o-Matic-bridge. The updated design does away with the annoying and ever-rattling piece of wire, used to keep the bridge saddles in place in the vintage version.
The snazzy chrome tailpiece adds its own bit of panache to this stylish semi.
As you might know by now, I’m something of a P-90 fan. The Fiorano Standard comes equipped with not one, but two of my favourite pickups. These are made by Wilkinson and come with chromed dog-ear covers.
Like many of Italia’s models, the Fiorano also features a sping-suspended plastic tray as an unusual control cavity cover. The electronics comprise a three-way toggle, as well as master volume and tone controls.
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Italia’s Mondial Deluxe (price in Finland approx. 675 €) is a genuine semiacoustic hybrid, offering you a piezo-equipped bridge (and active preamp) for acoustic-style guitar sounds alongside its traditional magnetic humbuckers.
Thinline-type mahogany body is mated to a maple top, which sports a very fetching Rickenbacker/Mosrite-style German Carve -edge. The top’s edges have been left natural, constituting what is usually called ”fake binding”.
The Mondial comes with a set maple neck.
You can also see the quick-release battery compartment for the 9 V battery used to power the piezo preamp.
Italia’s top nut is made from a self-lubricating material containing graphite.
We find the same decent-quality tuners on Mondial Deluxe as on the Fiorano.
Look at the all the nice hues of blues and greens in the guitar’s abalone dots!
The Mondial’s bridge may look identical to the Fiorano’s, but this here is a piezo-equipped model. There’s a thin lead going from beneath the bridge and through the maple top to feed the piezo signal to the preamp.
”I” – stands for Italia…
Two vintage-voiced Wilkinson WVC-humbuckers handle magnetic duties on the Mondial Deluxe.
The sliders on the guitar’s shoulder control the piezo side’s three-band EQ.
The magnetic signal is fed to a three-way toggle selector and master volume and tone controls.
There’s a dedicated volume control for the piezo signal, as well as a second output jack, enabling you to feed the acoustic side to a mixing console or a dedicated acoustic amplifier.
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Italia’s Fiorano Standard is just the guiar for me. It is comfortably lightweight and balances nicely. Its relatively thin body sits nicely against your belly/ribcage, even without any contouring or bevels.
The neck has a nice, mid-depth C-profile, which will feel comfortable to most players. The Fiorano arrived extremely well set-up with a slinky action (E: 1.9 mm/e: 1.7 mm).
Even if you cannot expect a thinline guitar, such as the Fiorano Standard, to out-shout a fat Jazz guitar, the Italia’s spruce-topped mahogany body results in a warm and woody acoustic voice.
In my opinion, P-90s are the best choice for a guitar of this type, because their singlecoil construction makes for a more percussive and dynamic tone than what you’d get from a creamy humbucker.
Played into a clean amp channel you’ll get a nice, clucky attack and a open, yet strong overall voice, that will fit Jazz just as well as Brit Pop, Country, Blues or early Rock’n’Roll (why not add a Bigsby, perhaps?):
If you’re after warm, rich and dynamic dirty tones P-90s are just the ticket! The Fiorano Standard will work great for any Beatles-, Kinks- or Who-inspired player, as well as George Thorogood-style electric Blues:
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Italia’s Mondial Deluxe is a medium-weight instrument. The well-executed German Carve and very clean fake binding make this guitar look more expensive than it really is.
The neck’s D-profile feels really good. Thanks to its clean fretwork and fine set-up this instrument also plays great (E: 2.0 mm/e: 1.3 mm).
Unplugged, Italia’s Mondial Deluxe is rather quiet, but its fresh acoustic voice and clear attack bode well for things to come.
This hybrid’s piezo sound was the real surprise for me in this review. Italia’s piezo system simply sounds that good and genuinely ”acoustic”:
Naturally, it’s good to hear the Mondial’s magnetic side perform to equally high standards. This guitar’s vintage-voiced Wilkinsons do a fine job of translating the Mondial’s fresh unplugged voice into nice clean tones:
Switching over to the distortion channel will turn the Mondial into a Seventies-style Blues Rock machine:
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It’s nigh on impossible not to get a crush on these Italia-guitars: Both the Fiorano Standard and the Mondial Deluxe are distinctly different from the mainstream of guitars on the market, but their design idiosyncrasies never get in the way of easy playability and great sound. If you want to steer clear of the usual copies, bust still look for a guitar with its own charm, you should definitely check out an Italia.
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Italia Guitars – Fiorano Standard + Mondial Deluxe
Now Italia Guitars are finally available in Finland!
Italia is a new brand on the Finnish market, even though these guitars have been available in many EU-countries for 15 years already. Italia Guitars is the joint effort of South Korean guitar factory Mirr Music and British guitar guru Trev Wilkinson. Wilkinson’s list of achievements is long and illustrious, including inventions such as the Wilkinson-vibrato and his roller nut, as well as instrument designs for Vintage (by JHS) and his own Fret-King brand.
The basic concept behind Italia Guitars is to come up with instruments that are imbued with the quirky charm of European electric guitars from the Fifties and Sixties, but which feature up-to-date playability and reliable electronics.
The Italia Maranello Classic (price in Finland around 640 €) is this brand’s best-known model, which has even found its way into the hands (and heart) of British songwriter and slide guitarist Chris Rea.
This model takes its inspiration from Hagström’s first solidbody electric, the P46, which has also been sold in North America under the Guyatone banner. In terms of its looks, the Maranello is a dead ringer for the P46, but the Italia’s electronic department clearly has been streamlined to make it a more sensible affair.
The Maranello Classic is quite a looker, sporting many hallmarks of classic Sixties designs.
The agathis body’s curved front comes in a gold sparkle metal finish, while the back of the body, as well as the neck, have received a pearloid coating.
The maple neck is screwed onto the body with two screws, which can be found beneath a snazzy cover plate.
A truss rod access at the headstock end, as well as a self-lubricating top nut are distinctly modern features…
…as are the Maranello’s sealed tuning machines.
The position markers are large block inlays. The bound rosewood fingerboard sports 22 medium-jumbo frets.
This Italia comes with a modern, Wilkinson-branded tune-o-matic bridge. The tailpiece, which rests on ferules, has been lifted straight off the old trapezes used in some Gibson- and Epiphone-semis.
The Maranello Classic comes equipped with a pair of Wilkinson WVC-humbuckers, which are Trev Wilkinson’s own version of the legendary PAF-humbucker.
All of the electronic parts on the Maranello – pickups, controls, and all – have been mounted onto a large cover-plate made stiff plastic, which is height adjustable, thanks to being suspended on top of metal springs.
This is an idea originally used on the Hagström P46. Italia Guitars are using a smaller, oval version of this – holding only the pickup switch, as well as the controls – on some of their other models.
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Italia’s Rimini 6 (price in Finland around 645 €) is rather reminiscent of the Rickenbacker 360, although it isn’t a straight copy of this classic guitar at all .
The Rimini 6 has a semiacoustic body made from solid agathis. The body blank is then routed out from the back, creating large cavities to both sides of a solid centre block. The body is then completed by glueing on a solid ash back.
Our review sample comes in a very fetching ”black” pearloid finish (some would call it ”bowling ball” or ”mother of toilet seat”), but you can also get your Rimini in a traditional colour finish, such as sunburst (sans the pearloid).
The black sunburst finish of the Rimini’s back shows off its beautiful grain nicely.
The model is built with a set maple neck.
The headstock on the Italia Rimini 6 doffs its hat in Rickenbacker’s direction:
The legendary US brand had come up with a very nifty design for the headstocks of their 12-string electrics, which has the normally-tuned strings fixed to tuners installed to the headstock’s underside (like the Rimini’s bass strings), while the octave-strings are fed to tuning heads installed from the side (like the Rimini’s treble strings).
The Rimini’s modern tuners carry Italia Guitars’ stylised I-logo.
Simple, but beautiful – the position markers combine blocks with small abalone-dots.
The Rimini 6 is equipped with a modern version of the tune-o-matic bridge, too.
The large, chromed tailpiece adds still more visual bling to proceedings.
I believe we can expect to hear some suitably fresh tones from the Rimini 6’s alnico-powered Wilkinson WMC-minihumbuckers.
The guitar’s controls comprise a three-way toggle switch, as well as controls for master volume and master tone.
Removing the plastic tray gives us a good look at Italia’s clean workmanship and the very decent components used.
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The Italia Maranello Classic has a shape and weight similar to a Gibson Les Paul, even though the Maranello features a slightly longer scale (63.5 cm/25″). Depending on your playing style, the placement of the toggle switch right beneath the neck pickup might lead to some involuntary pickup switching, at least in the very beginning.
I really like this guitar’s fat and round D-profile, giving you something to hold on to.
The Maranello Classic had received a pro setup (at Guitarworx) before leaving R-Jam Group’s headquarters, which resulted in a very comfortable action (E: 2.0 mm/e: 1.4 mm) without any annoying rattling.
The Maranello’s acoustic tone contains more than a hint of semi-style hollowness, no doubt thanks to the large pickup and electronics routing and the huge plastic scratchplate/tray.
Some of this open acoustic character is also carried over into the Maranello Classic’s amplified sounds, which adds a welcome degree of liveliness. Wilkinson’s alnico-equipped WVC-humbuckers have a nice vintage-style tonality at moderate output levels.
Modern Metal- and Hard Rock-styles aren’t probably the best environment for this Italia-model, because the Maranello’s large plastic cover tends to add a slight bit of microphonics. On the other hand, I don’t think this guitar is aimed at the Thrash-metaller. Instead, the Maranello Classic is a great guitar for classic Blues, Rock, Jazz and Pop!
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Wow, what a compact and lightweight guitar! The Rimini 6 feels great, both played seated and standing up with a strap, and balances very nicely.
The neck has an oval, C-type profile, and comes with a Rickenbacker-style scale (62.8 cm/24.75″). The medium-jumbo frets, as well as the great setup and low action (E: 1.9 mm/e: 1.3 mm), result in a very light and fast touch, turning this guitar into a natural extension of the player’s body.
Acoustically, the Rimini 6 sounds very open and fresh.
Like the P-90, a minihumbucker could be described as a sonic compromise between a Fender-style singlecoil and a full-blown humbucker. The minihumbucker’s great advantage over the P-90 lies in the former’s immunity against electromagnetic interference.
This Italia has fine ringing tone with a piano-like attack, which is never brittle or grating. These Wilkinson-pickups sound fantastic and offer enough output to take you from authentic Sixties-sounds (think Beatles, Byrds and early Who) all the way to more grittier stuff (think Paul Weller or Peter Buck).
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Italia Guitars’ Maranello Classic ja Rimini 6 are quality instruments, which manage to combine vintage looks and quirkiness with easy playability and great tone.If you’re on the lookout for a cool guitar off the beaten track, you should really give one of these Italia-models a try!
Italia Fiorano Standard (noin 640 €) on hyvin nätti, kahdella soololovella varustettu thinline-tyypinen puoliakustinen sähkökitara.
Fioranon kokopuiseen mahonkirunkoon on edestä työstetty isoja resonanssikoloja. Toisin kuin esimerkiksi Rimini 6- tai Mondial Deluxe -mallissa, Fioranon koppaan ei kuitenkaan jätetty seisomaan yhtä yhtenäistä keskipalkkia, vaan basso- ja diskanttipuolen kolojen väliin on avoin käytävä kitaran mikrofonien välissä. Viimeiseksi koppa on suljettu reunalistoitetulla kuusikannella.
Fioranon kaula veistetään vaahterasta.
Italia-logolla varustetut nykyaikaiset virittimet toimivat sulavasti ja moitteettomasti.
Reunalistoitetun palisanteriotelautaan on upotettu firman typpisiä otemerkkejä helmiäismuovista ja aidosta abalonesta.
Fiorano Standardin kaula on liitetty runkoon perinteisesti liimaamalla. Liitoskohta on 19. nauhan kohdalla.
Nykyaikaisessa tune-o-matic-tallassa tallapalat on kiinnitetty suoraan tallan runkoon, ilman sitä – vanhanaikaisista versioista tuttua – usein häiritsevästi rämisevää metallijousta.
Puoliakustiselle kitaralle näyttävästi kiiltävä kieltenpidin sopii kuin nakutettu.
Täyttyy myöntää, että olen itse aikamoinen P-90-mikrofonien fani. Italia-kitarassa löytyy heti kaksi, Wilkinsonin valmistamaa kappaletta, joilla on kromattuja metallikansia.
Useissa Italia-malleissa elektroniikka on asennettu jousitettuun muovilaatikkoon, niin kuin Fiorano Standardissakin, jolla on master volume- ja tone-säätimien lisäksi myös kolmiasentoinen vipukytkin.
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Italia Mondial Deluxe (noin 675 €) on aito, puoliakustinen hybridikitara, jolla on magneettisien humbucker-mikrofonien lisäksi piezomikrofonilla varustettu talla, ja ”akustiselle” signaalille oma etuvahvistin.
Thinline-paksuiseen mahonkikoppaan on liimattu vaahterakansi, jolla on yläreunoissa Rickenbacker/Mosrite-tyylinen German Carve -kaiverrus. Lisäkoristeeksi on jätetty kannen reunat sivulta värjäämättä, joka antaa kannelle vaikutelman reunalistoituksesta (ns. fake binding).
Mondialin vaahterakaula on liimattu soittimen runkoon.
Kuvassa näkyy myös runkoon upotettu paristolokero piezon etuvahvistimen käyttämälle yhdeksän voltin paristolle.
Italian satula on tehty kitkaa vähentävästä, grafiittipitoisesta muoviseoksesta.
Mondial Deluxessa käytetään samaa laadukasta viritinmallia kuin Fioranossa.
Tässä kuvassa näkyy hyvin abalonen kauniita vihreitä ja sinisiä sävyjä.
Vaikka Mondialin talla näyttää ihan samalta kuin Fioranon vastine, se on piezomikrofonilla varustettu malli. Tallan alla kulkee ohut johto vaahterakannen läpi aktiiviseen etuvahvistimeen.
”I” – niin kuin Italia…
Mondial Deluxe on varustettu kahdella, vintage-henkisellä Wilkinson WVC -humbuckerilla.
Kolmikaistaisen piezo-EQ:n liukusäätimet sijaitsevat kaulamikrofonin ylläpuolella.
Humbuckerien signaali syötetään passiivielektroniikan läpi, joka koostuu kolmiasentoisesta vipukytkimestä, sekä master volumesta ja tonesta.
Piezosignaalille on varattu oma volume-säädin ja oma jakkilähtö, jonka ansiosta kitaran ”akustinen” signaali voidaan lähettää esimerkiksi PA-mikserille tai omalle, akustiselle kitaralle erikoistuneelle vahvistimelle.
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Italia Fiorano Standard on selvästi sähkökitara minun makuun. Se on mukavan kevyt ja hyvässä tasapainossa. Suhteellisen ohut runko istuu eritäin hyvin soittajan kehoa vasten, vaikka tässä mallissa ei ole ns. mukavuusviiste rungon takapuolella.
Kaulan profiiliksi on valittu sellainen keskipaksu C-profiili, joka tuntuu varmasti lähes jokaisen kitaristin kädessä hyvin mukavalta. Fioranon kaikki säädöt olivat prikulleen kohdillaan ja soittimen kevyt tatsi tekee soittotuntumasta vaivattoman (E: 1,9 mm/e: 1,7 mm).
Vaikka tällaisen thinlie-tyylisen puoliakustisen akustinen volyymi ei luonnollisesti vedä vertaa oikealle orkesterikitaralle, Fioranon Standardin kuusikannella varustettu mahonkirunko antaa tälle soittimelle herkullisesti jazzahtavan, kuivan perusluonteen.
Minun mielestäni P-90-mikrofonit ovat tällaiselle soittimelle juuri se oikea valinta, koska näiden yksikelaisten soundi on hieman perkussiivisempi ja dynaamisempi kuin esimerkiksi tyypillisissä humbuckereissa.
Puhtaassa soinnissa on mukana herkullisen helmeilevä atakki ja hyvin avoin, mutta silti vahva yleisklangi, joka sopii Jazzin ohella myös todella hyvin Brit-Poppiin, Country-musiikkiin, Bluesiin tai vaikkapa varhais-Rock-n-Rolliin:
P-90-mikkien lämmin, rikas ja dynaaminen luonne on juuri se oikea lähtökohta autenttisille kuuskytluvun Beatles-, Kinks- tai Who-soundeille, sekä George Thorogood -tyyliselle sähkö-Bluesille:
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Painonsa suhteen Italian tyylikäs Mondial Deluxe sijoittuu hyvään keskikastiin. Huolellisuutta vaativa kannen kaiverrus ja sen ”reunalistoitus” on toteutettu erittäin siististi, samoin kitaran kuvankaunis sunbust-väritys. Mondial Deluxe vaikuttaa kalliimmalta kitaralta kuin mikä se todellisuudessa on.
Kaulan D-profiili tuntuu erittäin hyvältä. Tässä Italia-soittimessakin nauhatyön laatu ja testisoittimen soittotuntuma ovat todella kiitettävällä tasolla (kielikorkeus E: 2,0 mm/e: 1,3 mm).
Akustisesti soitettuna Mondial Deluxe on suhteellisen hiljainen, mutta sen äänessä on lupaavalta kuulostava tuorehko soundi selkeällä atakilla.
Tämän hybridikitaran piezoääni oli minulle erittäin positiivinen yllätys, juuri soundin ”akustisuuden” ansiosta. Näin hyvälle piezosoundille löytyy varmasti paljon käyttöä:
Mallikkaasti hoidetun piezopuolen jälkeen on luonnollisesti vakuuttava huomata, että myös Mondialin ”sähköinen” puoli kuulostaa tosi hyvältä. Vintage-tyyliset, tehoiltaan maltilliset Wilkinson-humbuckerit onnistuvat välittämään tämän Italian tuoretta perusluonnetta uskollisesti eteenpäin:
Mondialin säröpuolelta taas löytyy erittäin maukkaita 1970-luvun Blues Rock- ja Heavy-soundeja:
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Näihin Italia-kitaroihin on erittäin helppoa tykästyä: Fiorano Standard ja Mondial Deluxe ovat sopivan erilaisia, mutta tämä erilaisuus ei seiso hyvän soitettavuuden ja loistavan soundin tiellä. Jos etsit jotain vintage-kopioista poikkeavaa sähkökitaraa, jolla on samalla sekä omaleimainen charmi että nykyaikainen soitettavuus, kannattaa mielestäni tutustua lähemmin Italia-malleihin.
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Italia Guitars – Fiorano Standard + Mondial Deluxe
Italia Guitarsin soittimet ovat viimeinkin rantautuneet Suomeen!
Suomalaisille Italiat ovat uusi tuttavuus, vaikka firman kitaroita on myyty Keski-Euroopassa jo yli 15 vuotta. Italia Guitars on nimekkään eteläkorealaisen Mirr Music -soitintehtaan ja maineikkaan englantilaisen kitaragurun Trev Wilkinsonin yhteistyön hedelmä. Wilkinson on monessa liemessä keitetty kitara- ja bassosuunnittelija, jonka ansioluettelosta löytyy esimerkiksi sellaiset kohteet kuin Wilkinson-vibratalla ja -rullasatula, Vintage by JHS -kitarat ja -bassot, sekä miehen oma Fret-King-soitinmerkki.
Italia Guitarsin peruskonsepti on luoda laadukkaita omintakeisia kitaroita, jotka muistuttavat 1960-luvun kunnianhimoisia eurooppalaisia luomuksia, mutta joilla on samalla nykypäivän soitettavuus ja luotettavuus.
Italia-soittimia tuo maahan espoolainen yritys nimeltään R-JAM Group.
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Italia Maranello Classic (hinta noin 640 €) on valmistajan tunnetuin malli, ja se on löytänyt tiensä jopa brittiläisen lauluntekijän ja slidekitaristin Chris Rean käsiin ja sydämeen.
Esikuvana on selvästi toiminut Hagströmin ensimmäinen lankkukitara P46, joka myytiin Pohjois-Amerikassa myös Guyatone-brändin soittimena. Maranellon ulkonäkö vastaa pitkälti Hagström-klassikkoa, mutta Italian sähköosasto on selvästi virtaviivaistettu.
Maranello Classic ei ole mikään seinäkukkanen, vaan tästä prameasta luomuksesta saa aimo annoksen kyyskytluvun estetiikkaa!
Agathis-rungon (kauri-puu) kaareva etupuoli komeilee kultaisella metallivärillään, kun taas sen takapuoli – samoin kuin kitaran vaahterakaula – on saanut ylleen helmiäispäällystyksen.
Kaula on kiinnitetty runkoon kahdella ruuvilla, jotka jäävät pitkänomaisen koristelevyn alle piiloon.
Lavanpuoleinen pääsy ryhtyrautaan ja grafiittipitoinen satula ovat uudenaikaisia parannuksia…
…samoin kuin Maranellon kapseloidut virittimet.
Maranello Classicin otemerkit tehdään helmiäismuovista. Reunalistoitettuun palisanteriotelautaan on asennettu 22 medium-jumbo-kokoista nauhaa.
Italia-kitaran talla on nykyaikainen tune-o-matic-talla Wilkinsonin tuotevalikoimasta. Metalliholkkien päälle asennettu kieltenpidin taas on lainattu suoraan puoliakustisten Gibson- ja Epiphone-kitaroiden trapetseista.
Maranello Classicin mikrofonivarustus koostuu kahdesta Wilkinson WVC -humbuckerista, jotka ovat Trev Wilkinsonin oma versio legendaarisesta PAF-mikrofonista.
Maranellossa kitaran koko elektroniikka mikrofoneineen päivineen on asennettu isokokoiseen muovilevyyn (tai enemminkin -laatikkoon), joka on kiinnitetty runkoon puuruuveilla ja puristusjousilla.
Idea tulee alkuperäisesta Hagström P46 -soittimesta. Italia Guitars on soveltanut tätä useassa muussa kitaramallissa, joissa käytetään soikeata muovilevyä säätimien, valintakytkimen ja lähtöjakin kiinnittämiseen.
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Italia Rimini 6 (hinta noin 645 €) on hyvin Rickenbacker 360 -mallia muistuttava ilmestys, olematta kuitenkaan kyseisen mallin suora kopio.
Rimini 6:n puoliakustinen runko tehdään täyspuisesta agathiksesta, johon jyrsitään isoja taskuja rungon takapuolelta. Lopuksi runko suljetaan umpipuisella saarnilevyllä.
Testisoittimen rungon ja lavan etupuolet on päällystetty haitarimaisesti ”mustalla” helmiäispinnoitteella (engl. pearloid tai perloid), mutta Riministä saa myös versioita tavallisilla väri- tai sunburst-viimeistelyillä (siis: ilman perloidia).
Riminin takapuolella taas näkyvät puun syykuviot kauniin mustan liukuvärityksen läpi.
Tämän mallin kaula on veistetty vaahterasta, ja se liitetään runkoon perinteisellä liimaliitoksella.
Italia Rimini 6:n lapa viittaa sekin vahvasti Rickenbackerin suuntaan:
Legendaarisen yhdysvaltalaisen merkin 12-kielisissä kitaroissa käytetään hyvin kompaktia lapamallia, jossa peruskielien virityskoneistot asennetaan tavalliseen tapaan viritystappeja ylöspäin (niin kuin Riminin bassopuolella) ja oktaavikielien virittimet taas on asennettu sivuttain (niin kuin Riminin diskanttipuolella).
Riminin nykyaikaisissa virittimissä näkyy Italia Guitarsin I-logo.
Yksinkertaisia, mutta kauniita – suorakulmiot helmiäismuovista yhdistettyinä pyöreiden abalone-merkkien kanssa.
Myös Rimini 6 -kitarassa käytetään nykyaikaista tune-o-matic-tallaa.
Näyttävä kieltenpidike lisää soittimeen vielä pikkuannoksen blingiä.
Riminin kahdelta Wilkinson WMC -minihumbuckerilta voi varmasti odottaa perushumbuckeria raikkaampaa soundia. WMC-mikrofoneissa käytetään Alnico V -magneetteja.
Master volume, master tone, sekä kolmiasentoinen vipukytkin – siinä Italian virtaviivaistettu elektroniikkakattaus.
Muovilevyn poistamisen jälkeen paljastuvat Italia Guitarsin siisti työ ja laadukkaat osat.
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Italian Maranello Classic tuntuu ulkomitoiltaan ja painoltaan melko samansuuntaiselta kuin keskiverto-Les Paul, vaikka Maranellon mensuuri onkin hivenen verran pidempi (63,5 cm/25 tuumaa). Soittotyylistä riippuen mikrofonikytkin voi tuntua – ainakin aluksi – olevan hieman plektrakäden tiellä, mutta ajan kanssa siihen varmaan tottuu.
Tykkäsin erittäin paljon kaulan lihaksikkaasta D-profiilista, joka onnistuu olemaan tuhti, muttei kömpelö.
Jokainen Italia-kitara tarkistetaan ja säädetään Espoon Guitarworxissa, ennen kuin soitin lähtee R-Jamin varastolta. Maranello Classic saapui siis testiin huippukunnossa: tatsi oli säädetty hyvin mukavaksi (E: 2,0 mm/e: 1,4 mm) ja kitara soi myös akustisena täysin ilman minkäänlaista ylimääräistä räminää.
Maranellon akustisessa soundissa on tietty avoimuus ja mukavan ontto klangi, joka johtuu hyvin todennäköisesti isosta mikrofoni- ja elektroniikkakolosta, sekä soittimen muovisesta kannesta.
Tämä puoliakustinen vivahde säilyy myös jonkin verran Maranello Classicin vahvistetussa soundissa, mikä lisää sointiin sopivasti avoimuutta ja eloisuutta. Alnico-magneeteilla varustetut Wilkinson WVC -mikrofonit soivat vintage-tyylisen lämpimästi ja maltillisella teholla.
Nyky-Metallin ja -Hard Rockin high-gain-soundeihin tämä Italia ei ehkä ihan sovi, sillä Maranellon suuri, hieman resonoiva muovikansi lisää luonnollisesti humbuckerien kiertoherkkyyttä, mutta se ei tunnukaan olevan tämän soittimen kohderyhmä. Sellaiseen klassiseen Blues-, Rock-, Jazz- ja Pop-menoon tämä kitara kuitenkin sopii kuin nenä päähän!
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Vau, mikä kevyt ja mukavan kompaktin-tuntuinen kitara! Rimini 6 istuu hyvin mukavasti soittajan kehoa vasten ja roikkuu loistavassa tasapainossa hihnassa.
Kaulan ovaali C-profiili, Riminin Rickenbacker-tyylinen mensuuri (62,8 cm/24,75 tuumaa), sen medium-jumbo nauhat, sekä testiyksilön loistava trimmi (E: 1,9 mm/e: 1,3 mm), johtavat erittäin nopeaan ja mukavaan soittotuntumaan, jossa soittimesta todellakin tulee kitaristin luonnollinen jatke.
Rimini 6:n akustinen soundi on erittäin tuore ja avoin.
P-90-mikrofonien lailla myös minihumbuckereita voisi kuvailla Fender-tyylisen yksikelaisen ja täysikokoisen humbuckerin täydelliseksi kompromissiksi. Mutta toisin kuin P-90, joka on yksikelainen, minihumbucker-mikrofoni ei poimi elektromagneettisia häiriöitä ympäristöstään.
Tämän Italian vahvistettu ääni on mukavan raikas ja kiinteä, mutta se pysyy samalla täysin vapaana häiritsevästä piikkisyydestä. Loistavien Wilkinson-mikrofonien terve signaaliteho mahdollistaa autenttisien 1960-luvun soundien (Beatlesien, Byrdsien ja varhaisen Whon jalanjäljissä) lisäksi myös huomattavasti rosoisempaa menoa (Paul Weller–Peter Buck-akselilla).
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Testin perusteella voi todeta, että Italia Guitarsin Maranello Classic- ja Rimini 6 -malleissa peloton kuuskytluvun muotoilu ei seiso hyvän soitettavuuden tai soundin tiellä. Molemmat kitarat ovat erittäin mukavia, laadukkaita ja hyvin soivia nykyaikaisia soittimia, joihin mielestäni kannattaa tutustua.
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Italia Guitars – Maranello Classic + Rimini 6
Maranello Classic – noin 640 €
Rimini 6 – testattu Perloid-versio noin 645 €, perusversio noin 615 €
Hagström Guitars’ new models, which had been announced at Frankfurt Musikmesse 2013, have finally arrived in Finland a few weeks ago!
Kitarablogi had the pleasure of receiving two of these guitars for testing:
The Viking P is a new version of Hagström’s very popular semi-acoustic, and it comes equipped with two Custom P-50 singlecoil pickups.
The Pat Smear Signature is a solid-body electric tailored to the Foo Fighters-guitarist’s needs.
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The Hagström Viking is probably the company’s best-known guitar model, not least because of Elvis Presley’s use of a Viking during his legendary ’68 Comeback Special TV show.
The brand-new Hagström Viking P (street price in Finland around 650 €) adds a pair of P-90-style singlecoils to the mix.
The Viking P’s maple neck is glued into the body, which is made in traditional style from form-pressed plywood maple.
A solid wood centre block – made of what looks like nato or meranti – runs the full length of this instrument.
”Beautiful”, ”classic” and ”timeless” are fitting adjectives to describe Hagström’s bound headstock.
Graph Tech’s self-lubricating Black Tusq-material has been chosen for the Viking P’s nut.
The Hagström-branded tuning machines are modern enclosed units that work very well.
The deep black fingerboard of the Viking P has been crafted from Hagström’s proprietary Resinator-material, which is a composite of birch fibres and resin. Resinator aims to be a man-made alternative to ebony, offering similar properties in terms of stability, looks and sound.
The ’board sports 22 medium-sized frets, which have been installed cleanly and finished well.
Hagström have chosen a stylish and practical way of installing their own Custom P-50 pickups on this semi:
Instead of opting for traditional, so-called dog ear covers, which are screwed to the guitar’s top, the Viking P comes with two black soap bar units. Originally developed for solid-body guitars, soap bar pickups offer the advantage of height adjustment via two Phillips-head screws placed between the adjustable pole pieces. With traditional dog ears the only means of adjusting pickup balance is by using the pole pieces – and often this leaves the bridge unit sounding a tad weaker than the neck pickup.
The three-way toggle switch has been placed on the Viking’s top horn.
The solid centre block cuts down feedback howl very effectively, and it also allows for the use of sturdy hardware.
The control setup is traditional, offering separate volume and tone pots for each pickup.
Pat liked the general shape of the F-200, but requested a thicker mahogany body with a bound maple top. In terms of thickness, we’re talking similar dimensions as on a PRS Guitars Custom 22, for example.
The Smear Signature features a set mahogany neck.
Any way you look at it – the Hagström headstock sure looks classy.
Pat Smear’s signature can be found on the back of the headstock.
It’s a Resinator fingerboard with 22 medium-sized frets on the Smear Signature also, but the position markers are large pearloid blocks here.
Mr Smear selected a pair of vintage-voiced Hagström Custom 58 -humbuckers for his signature model.
A special feature of this guitar is the toggle switch installation through a hole in the pickguard.
Even though the Pat Smear Signature isn’t equipped with a vibrato, the guitar comes with a roller bridge to ensure maximum tuning stability and string life.
Hagström’s idiosyncratic tailpiece is made up of six brass string retainers mounted onto a plexiglass plate.
There are four controls on the Smear-model, instead of the F-200’s single pair of master volume and master tone.
Both review guitars come with high-quality switches and pots.
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Both review guitars suffered from a very slight bout of fretboard shrinkage due to dry weather conditions. It seems that Hagström’s Resinator composite doesn’t only look and feel like ebony, but also reacts to changes in air humidity in a similar fashion. Fretboard shrinkage isn’t a real ”fault” per se, but rather something that happens to a large proportion of new guitars. Luckily, your friendly guitar repair shop can take care of the sharpish fret ends easily and inexpensively.
The Hagström Viking P is of medium weight, and balances well in the lap or on a strap.
The neck profile is a flattish D, which feels great.
Straight out of the shipping-box the setup was spot-on. The Hagström Viking P comes factory-equipped with a 010-gauge string set. Thanks to the flat (15″) fingerboard radius and the low action (low E: 1.9 mm/high e: 1.6 mm) this Viking is a really comfortable player.
Due to its semi-acoustic build, the Viking P’s unamplified voice is quieter and closer to a solid-body than the acoustic performance of all-hollow thinlines, such as the Gibson ES-330 or the Epiphone Casino. Acoustically, the Viking P sounds clear and fresh.
Hagström’s fantastic Custom P-50 pickups add a nice shot of warmth and roundness to the mix, without clouding the Viking’s inherent clarity and dynamics.
There are great clean sounds on tap:
But the fun doesn’t end there, as the Viking P also delivers when it comes to the crunchy side of things, with its fat midrange and dynamic punch:
Due to the physical limitations inherent in single-coil pickups, high-gain sounds are always a somewhat tricky endeavour in P-90-equipped guitars. The sound is really great, but you have to decide for yourselves how much how much hum and buzz you can stomach:
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Hagström’s Pat Smear Signature feels very comfortable, thanks to its rounded body shape and moderate weight.
This guitar’s neck is a slightly more rounded affair, when compared to the neck profile on Viking P, making it feel even better, in my opinion.
Again, the setup was great straight out of the box – a low action, such as the one on the Smear Signature (low E: 1.6 mm/high e: 1.4 mm), only works as well as it does here when the frets are level. This guitar plays like a dream.
Acoustically, this Hagström speaks with a strong and clear voice. The Smear-model features a healthy attack coupled with long and even sustain.
I really like Hagström’s vintage-voiced Custom 58-humbuckers, because their moderate output level leaves enough room for the guitar’s acoustic clarity and dynamics to shine through:
The crunchy tones of the Pat Smear Signature manage to combine clarity and Rock-muscle in a very appealing fashion:
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These new Hagström-models are very welcome additions to the company’s range of models.
Of these two, the Viking P leans somewhat more in the vintage direction tonally, dishing out a delicious and rootsy P-90-fuelled alternative to Hagström’s regular Viking. The Pat Smear Signature is a signature model that can work for many friends of double-humbucker solid-bodies, even if you’re not familiar with the man’s oeuvre.
In any case, both Hagström-models are quality instruments at prices even the amateur can afford.
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Hagström Viking P + Pat Smear Signature
Viking P – street price in Finland approx. 650 €
Pat Smear Signature – street price in Finland approx. 670 €
Hagström Guitarsin uutuusmallit tämänvuotiselta Frankfurtin Musikmesseltä ovat viimein rantautuneet Suomeen!
Kitarablogi on saanut kaksi mallia testiin:
Viking P on Custom P-50 -yksikelaisilla varustettu versio Hagströmin suositusta puoliakustisesta.
Pat Smear Signature -malli on Foo Fighters -yhtyeen kitaristin kovasti odotettu nimikkokitara.
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Hagströmin Viking on ehkä firman tunnetuin malli, ja kiitos siitä kuuluu Elvis Presleylle, joka käytti kyseistä kitaraa hänen legendaarisesta ’68 Comeback Special -TV-ohjelmassa.
Upouusi Hagström Viking P (hintaluokka noin 650 €) lisää tutulle reseptille P-90-tyylisiä yksikelaisia mikrofoneja.
Viking P:n vaahterakaula on liimattu muottiin prässätystä vaahteravanerista valmistettuun runkoon.
Rungon täysipuinen keskipalkki näyttää olevan testisoittimessa natosta tai meranti-puusta veistetty.
Kaunis, klassinen, ajaton – sellainen on Hagströmin reunalistoitettu viritinlapa.
Musta satula on tehty Graph Techin itsevoitelevasta Black Tusq -materiaalista.
Hagström-virittimet ovat nykyaikaista kapseloitua sorttia, ja toimivat moitteettomasti.
Viking P:n musta otelauta on veistetty Hagströmin omasta Resinator-materiaalista, joka valmistetaan koivusta ja hartsista. Resinatorilla on pitkälti samat ominaisuudet kuin eebenpuulla.
Kitarassa on 22 keskikokoista nauhaa, joita on istutettu otelautaan hyvin huolellisesti.
Hagström on päätynyt tällaiseen tyylikkääseen ja käytännölliseen tapaan asentaa omat Custom P-50 -mikrofoninsa puoliakustiseen kitaraan:
Kansikiinnityksen vaativan, perinteisen dog ear -vaihtoehdon sijaan Viking P:ssä käytetään alunperin lankkukitaroille kehitettyä saippuapala-tyyppiä. Soapbar-mikrofonin etu on, että sen korkeutta voi säätää naparuuvien välisillä ruuveilla. Dog eareissä taas vain naparuuveja voi säätää, minkä takia tallamikrofonin signaaliteho voi pysyä joissakin kitaroissa kaulamikrofonia heikompana.
Kolmiasentoinen vipukytkin sijaitsee kaikissa Viking-malleissa rungon yläsarvessa.
Kaikukopan keskipalkin ansiosta feedback-ulinan kanssa tulee vain harvemmin ongelmia, ja lisäksi palkki mahdollistaa kiinteän tallan asentamista.
Tuttuun tapaan on tarjolla neljä säädintä – kummallekin mikrofonille oma tone- ja volume-säädin.
Pat tykkäsi F-200:n ulkomuodosta, mutta toivoi selvästi paksumpaa runkoa, jossa mahonkisen takaosaan päälle on reunalistoitettu vaahterakansi. Smear-mallin runko on samaa paksuusluokkaa kuin esimerkiksi PRS Guitarsin Custom 22 -malli.
Smear Signaturen mahonkikaula on liimattu runkoon.
Hagström-lapa on kuvankaunis myös tästä kulmasta katsottuna.
Pat Smearin nimmari löytyy lavan kääntöpuolelta.
Myös nimikkomallissa on Resinator-otelautaan asennettu 22 medium-kokoista nauhaa, mutta otemerkit ovat tällä kertaa erittäin kauniita blokkeja.
Herra Smear valitsi nimikkokitaraansa Hagströmin vintage-tyyliset Custom 58 -humbuckerit.
Pleksin läpi asennettu vipukytkin on hyvin omaleimainen ja pikantti yksityiskohta tässä mallissa.
Vaikka Pat Smear Signaturessa ei ole vibratoa, artisti on valinnut tallaksi rullilla varustetun tune-o-matic-kopion.
Hagströmin perinteisessä kielipitimessä kielet kiinnitetään pleksilasialustan läpi runkoon kiinnitettyihin messinkipaloihin.
Kitarasankarin omasta toiveesta Smear-mallissa on neljä säädintä, kun taas F-200:ssa on vain master volume ja master tone.
Molemmissa kitaroissa käytetään laadukkaita kytkimiä ja potentiometrejä.
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Molemmissa testisoittimissa otelauta on ilmeisesti kutistunut aavistuksen verran matkalla Kiinasta tänne Pohjolaan, minkä takia nauhojen päät tuntuvat hieman terävältä sormien alla. Ilmeisesti Resinator-materiaali ei ainoastaan näytä puulta, vaan se myös ”elää” puun lailla. Tässä ei ole kyse varsinaisesta viasta, vaan uusien kitaroiden yleisestä ongelmasta, joka on helposti (ja edullisesti) korjattavissa.
Hagström Viking P:llä on mukava keskivertopaino, ja se istuu tällä kitaralajille tyypillisellä tavalla erittäin hyvin sylissä tai hihnassa.
Kaulaprofiiliksi on valittu suhteellisen matala D, joka tuntuu oikein hyvältä.
Suoraan pakasta vedetyn testiyksilön säädöt olivat prikulleen kohdallaan. Hagström Viking P tulee tehtaalta 010-kielisatsilla, ja soittimen tatsi oli otelaudan loivan kaarevuuden (15 tuumaa) ja mukavan kielikorkeuden (matala E: 1,9 mm/korkea e: 1,6 mm) ansiosta erittäin kevyt.
Gibson ES-335-tyylisenä puoliakustisena soittimena Viking P:n akustinen ääni on hyvin tiukka ja paljon lankkukitara-maisempi kuin esimerkiksi samankokoisissa, mutta täysin ontoissa ES-330 tai Epiphone Casino -kitaroissa. Viking P kuulostaa raikkaalta ja selkeältä.
Hagströmin loistavat Custom P-50 -mikrofonit lisäävät soppaan hieman pyöreyttä ja lämpöä, ilman että Vikingin selkeys ja dynamiikka kärsisivät.
Lopputulos on puhtaan vahvistimen läpi soitettuna erittäin kaunis:
Myös säröllä Viking P:n soundi pistää suun messingille, koska sointi on tiivis ja erotteleva, muttei piikikäs:
Liidisoundeissa yksikelaisten mikkien – fysiikasta johtuva – häiriöherkkyys voi tulla suurilla gain-määrillä vasten. Jokaisen on itse selvitettävä, miten paljon hurinaa omassa kitarasignaalissa saa olla. Hagström Viking P:n soundi sinänsä on nimittäin erittäin hyvä:
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Hagströmin Pat Smear -malli tuntuu mukavalta sekä seisten että istuen, myös maltillisen painonsa ansiosta.
Tämän kitaran kaula on aavistuksen verran pyöreämpi tapaus, kuin Vikingissä, ja se istuu minun käteeni ehkä vieläkin paremmin kuin puoliakustisen Hagströmin vastine.
Niin ikäänkin suoraan pakasta vedetyn Smear Signaturen säädöt olivat myös erittäin hyvässä kuosissa – näin matalan kieltenkorkeuden (E: 1,6 mm/e: 1,4 mm) saa toimimaan kunnolla vain silloin, kun nauhatyö on suoritettu kiitettävästi. Testiyksilön soitettavuus on erittäin vaivatonta.
Akustisesti tämä Hagström soi vahvalla ja selkeällä äänellä. Smear-mallilla on tarkka atakki sekä pitkä ja tasainen sustain-vaihe.
Hagströmin erinomaiset Custom 58 -humbuckerit ovat maltillisella tehollaan hyvin onnistunut valinta näin dynaamisesti ja avoimesti soivalle lankkukitaralle:
Myös särösoundeissa Pat Smearin nimikkomalli kuulostaa samalla selkeältä ja lihaksikkaalta:
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Nämä uudet Hagström-mallit ovat erittäin tervetulleita variaatioita firman tutuista, omista malleista.
Viking P nojaa näistä kahdesta ehkä aavistuksen verran enemmän vintagen suuntaan, ja tarjoaa P-90-tyylisillä mikeillä hieman juurevamman vaihtoehdon perus-viikingille. Pat Smear Signature on yleishyödyllinen nimikkomalli, joka toimii myös erittäin hyvin, vaikka herran tuotanto tai musiikkityyli eivät miellytä.
Kyse on joka tapauksessa laadukkaista soittimista, joiden rahkeet selvästi riittävät myös ammattimuusikon käyttöön.
Tokai’s TTE-55 is the company’s newest made-in-Japan Tele-type guitar. The TTE-55 isn’t meant to be a dead-on copy of a Tele from a certain period, but rather something like a Tokai ”best-of-vintage-T” model.
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You can get the Tokai TTE-55 (current price in Finland:848 €) with either a one-piece maple neck – as on our White Blonde review sample – or equipped with a rosewood ’board.
The finish of the hardware is dependent on the body’s colour – in our case here the Tokai sports gold coloured hardware, which embues this Tele with a good dose of Mary Kaye -style panache.
The 1950s-type neck is screwed to a Sixties-type, bound alder body.
The fine Kluson-copies have one major advantage over more recent designs: The nifty safety posts prevent any sharp string ends from sticking out.
The neck’s silky-smooth satin finish is a much more modern feature, as are the 21 jumbo-sized frets. Top marks to Tokai for the quality of their fretwork!
Timeless beauty – this is a sight I never tire of…
Not all vintage Tele-bridges are the same – the originals went through several different incarnations between the Fifties and now, especially when it comes to the material chosen for the bridge saddles. Tokai’s TTE-55 sports brass saddles, which is the favourite choice for juicy tone among vintage-anoraks.
You can’t get more classic than a Tele-type guitar’s pickup combination: The neck pickup is a narrow unit with its own shielding metal cover, while the chunkier bridge pickup hangs suspended from the bridge plate.
In 1967 the Tele’s switching was changed to the now-classic format of a three-way blade switch for neck/both/bridge-selection, coupled with a master volume and a master tone control.
There’s plenty of quality on offer on the inside, too, with a VLX-switch and two GF-potentiometers keeping everything ship-shaped.
Vintage-freaks will dig the cloth-covered pickup leads.
****
Our test sample is of medium weight – not the lightest Tele ever, but still really comfortable.
The Tokai TTE-55’s neck profile is right down my alley, being a well rounded and full ”D”. There’s enough girth to support your left hand nicely, but not so much as to make the neck feel too fat or hard to play .
The neck’s contemporary finish and the modern fret size result in a very bend-friendly guitar with a great action (E: 1,9 mm/e: 1,7 mm).
There’s always a bit of compromise to deal with, when it comes to a Tele-type guitar’s intonation, due to the shared bridge saddles. But this hasn’t prevented this guitar type to become a true classic – the compromises one can deal with easily.
It’s build like a Tele, it looks like a Tele, and, yes, the Tokai TTE-55 also sounds like a Tele. The neck pickup’s tone is well rounded, with a charming amount of wood to its voice. Put the switch in the middle position, and you’ll be funking with Prince. And the bridge pickup on its own is bang on the money for all your Country-, Rockabilly- and Blues-needs.
Tokai’s TTE-55 is a great choice for virtually any musical genre, with the exception of Hard Rock and Metal.
In light of this review, I can only conclude that the Tokai TTE-55 is a top quality instrument, which offers a whole lot of Tele-goodness at a very moderate price.
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