Acoustic Gear Finds June 2021
Don't miss the latest and greatest gear finds for your acoustic!
The Cole Clark CCFL2ECRDBL Acoustic-Electric Guitar is designed for the guitarist who demands the highest standards in an instrument. The 2 Series FL Dreadnought guitar is the go-to choice for every player looking to have ultimate control of both the acoustic and plugged-in performance environments, with Cole Clark's signature 3-way pickup system and beautiful, sustainably-sourced, natural Redwood and Blackwood timbers.
"I love this thing, I can't put it down. It's kind of like having a piano in your lap, you got all the low end for bass lines, and you got chords that you can strum on top, even alternating simple bass lines. There's all kinds of fun you can have with this thing!" ~ Sean Harkness, NYC
Typically tuned to B, the Baritone provides a clear low end response perfect for soloists, singer-songwriters, percussive finger-style players, or guitarists who crave a walking bass line while comping chords.
With its offset soundhole, side-port, and solid Sitka spruce top with innovative low-mass bracing, the Walden B1E sounds sonically excellent while incorporating the more comfortable Grand Auditorium body shape. A graphite reinforced Mahogany neck contribute to stability and its 27″ scale length and 1-13/16″ nut width contribute to the B1E Baritone's transparent playability.
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The PRS SE P20E is a parlor-sized acoustic with a big voice. Features include all-mahogany construction and PRS hybrid "X"/Classical bracing, which allows the top to freely vibrate, the SE P20E projects with even, bold tone. Its smaller size makes playing for hours fun and comfortable and allows for more convenient transport.
Plug in the Fishman GT1 pickup system, and it delivers dynamic, organic tone. This electronics system features an undersaddle pickup and soundhole mounted preamp with easy-to-access volume and tone controls, which essentially transforms what some may consider a "couch guitar" into a workhorse stage instrument.
Available in three satin finishes with herringbone rosettes and accents. Other high-quality features include a solid mahogany top, ebony fretboard and bridge, and bone nut and saddle. Gig bag included.
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Inspired by the guitars made in the 1930s, the Tanglewood Blackbird series evoke traditional values, yet offer the benefits a guitar manufactured in the modern era. These guitars feature hand-selected tone woods and a unique bracing pattern. The Blackbird Orchestra electro-acoustic guitar is carefully braced to environments, with Cole Clark's signature 3-way pickup system and beautiful, sustainably-sourced, natural Redwood and Blackwood timbers.
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Taylor's popular, compact GS Mini has brought countless hours of guitar-playing joy to musicians of all stripes, and the GS Mini-e Koa Plus takes the fun to a new level with elevated aesthetic details. Back and sides of layered Hawaiian koa pair with a solid koa top for a punchy, bold sound with surprising power and volume for a small-bodied guitar with a scale length of 23-½ inches, while the 1-11/16-inch nut width makes forming chords a breeze. A dusky edgeburst accentuates koa's natural grain and luster around the top, back and sides, while other notable features include nickel tuners, a three-ring rosette, and a genuine West African ebony fretboard. It includes onboard ES2 electronics and Taylor's new AeroCase®, a soft yet sturdy case with all the protection of a hardshell case at one-third the weight.
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Adding to the company's line of premium capos, Shubb has introduced the new Capo Royale Series, featuring durable gold finishes that deliver long-lasting beauty.
Available in two lustrous finishes – Gold and Rose Gold – the Capo Royale Series brings a distinctive visual flair to Shubb's famed capo design, revered since 1980 for its ability to provide flawlessly clean fretting while keeping the instrument in tune.
For many years Shubb has received requests for a gold plated Shubb Capo. While gold is undeniably beautiful, it is not at all durable; it will wear off far too easily and quickly. It is also famously expensive. Now, Shubb has developed a high-tech technique for creating a gold-toned titanium finish. It possesses all the beauty of real gold, but is as durable as any metal finish in the world.
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Guild's most affordable jumbo yet! The F-240E is a tone cannon at a player's price. Built with a solid spruce top, mahogany sides, and an arched mahogany back, the full-bodied and powerful voice of this Guild Jumbo provides guitarists with historically-Guild acoustic tone and voicing. Guild's signature arched back design allows for enhanced volume and projection, long sustain, and a lush, full sound. The F-240E features Guild's Fishman-designed AP-1 electronics, a pau ferro fingerboard and bridge, bone nut and saddle, mother-of-pearl rosette, period-correct tortoiseshell pickguard, and a satin polyurethane finish.
Blackstar Amplification ACOUSTIC:CORE30
The Blackstar ACOUSTIC:CORE 30 was designed to give singer/songwriters the ability to get a professional sound without any sound engineering expertise, then share it via live streaming or recording, or live performance. All in a compact easily portable combo with the option of battery power. This take-anywhere acoustic amp is designed for the way you play today: streaming, recording, practice or live.
Santa Cruz Guitar Company has made it even easier to order the custom acoustic you've always wanted. They invite you to email them directly at firstname.lastname@example.org to be walked through the design process, where they will take the time needed to answer all your questions about models, tonewoods, structural options and aesthetics to ensure you will receive the heirloom acoustic that is right for you.
The New MH8P Series Vegan Hemp Series guitar straps by Levy's come in four new beautiful motifs and measure 2"/51mm in width. These organic straps are cruelty-free using sustainable materials and extend from 37"/940mm to 62"/1572mm via silver-colored tri-glide sliding adjustment. Natural hemp webbing and durable 2-ply cork ends safely support your instrument, along with pinhole stitching on both ends to prevent stretching. To address the issue of pick dropping encountered by almost every gigging guitarist, the MH8P Series comes equipped with a convenient 2.5"/64mm inside pocket to provide quick access to extra picks. Hand-crafted in Novia Scotia.
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The product of nearly 3 years of intensive research and collaboration with a team of PhDs, LR Baggs is thrilled to introduce Voiceprint DI, the next breakthrough chapter in acoustic amplification. Voiceprint DI measures the acoustic response of your guitar by leveraging the processing power of your iPhone® to accurately capture your guitar's one-of-a-kind voice. A Voiceprint is created, transforming your pickup into the most authentic sound we have engineered in our 40+ years.
Raise your hand if you only own one guitar… that's what we thought. But do you need a different amplifier for each one? The Bud from Henriksen is no ordinary amplifier; it sounds just as amazing with your acoustic guitars as it does with your electric guitars, regardless of style. The Bud is just 13 lbs and 9"x9"x9" but packs 120 watts of power and a pro-grade feature set that you can truly gig with, record, teach, or just practice.
Powerful and responsive like a dreadnought, tonally the acoustic electric Breedlove Jeff Bridges' Signature Model emphasizes the unique qualities of myrtlewood, with a deep rosewood-like bass, the fundamental clarity of mahogany and the enchanting shimmer of koa. The Breedlove Jeff Bridges signature "All in this Together" project benefits Amazon Conservation Team, which works in partnership with indigenous colleagues to protect rainforests.
NUX Stageman II Battery-Powered Acoustic Guitar Amplifier features a pure analog preamp with NUX's iconic Core-Image post-effects. It has specific EQ scenes for finger-style as well as strum-style in channel 1, and you can engage built-in Acoustic IRs with a dedicated mobile APP. Acoustic IR is the new trend to make your acoustic sound as natural as micing. Stageman II keeps Drum & Loop, you can control by the original NUX NMP-2 foot-controller. And the built-in rechargeable battery can let you busk on the street for 4 hours.
- 80-watt rich warm sound acoustic amp with 6.5" premium speaker and 1" tweeter
- Rechargeable battery for 4.5 hours outdoor performing
- Built-in Acoustic Impulse Response
- 2 independent channels with routing adjustable post-effects
- Mobile APP for editing and control
- Drum & Loop (60s phrase loop)
- Bluetooth Audio Stream
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Created from “acts of desperation,” the inventive Australian rock band’s new release upends the idea of the traditional covers record.
In June 2021, while the pandemic was raging worldwide, Gareth “Gaz” Liddiard, who was isolating during one of Melbourne’s many lockdowns, decided he wanted to cover a Jimi Hendrix song. But the vocalist and guitarist for Australia’s Tropical Fuck Storm didn’t want to cover one of the legend’s hits. “I thought, ‘Let’s do a Hendrix song, but what’s the most ridiculous and ambitious one?’” he recalls. He ultimately decided that Hendrix’s “1983 (A Merman I Should Turn To Be)” fit the bill.
The cover is now the centerpiece of Submersive Behavior, the band’s latest release. The Hendrix version of “1983” clocks in at about 13 minutes and features the kind of guitar histrionics one would expect from the legendary guitarist. Tropical Fuck Storm’s version of “1983” is an epic 18-minute swatch of sonic surrealism that honors the original, but also leans heavily on their own energetic style. From Liddiard’s opening guitar salvo, through the acid-trip, synth-psych middle section, the spirit of Hendrix is heartwarmingly embraced, and raucously and inventively reimagined.
1983 (A Merman I Should Turn To Be)
Submersive Behavior is the latest entry in a growing catalog marked by fearless choices. The band’s 2018 debut album, A Laughing Death in Meatspace, was a singular-sounding mashup of post-punk and psychedelia driven mightily by the crafty guitar work of Liddiard and the band’s other guitarist, Erica Dunn. 2019’s Braindrops further solidified their reputation as one of Australia’s most innovative and boundary-busting exports. It featured an eclectic mix of genres and unconventional song structures, laced with the duo’s now-signature effects-saturated, experimentally recorded guitar sounds. With Submersive Behavior, Tropical Fuck Storm is pushing the envelope yet again, this time by gutting and reconstructing the once tried-and-true covers-record concept.
Gareth "Gaz" Liddiard's Gear
Gareth “Gaz” Liddiard says the vast Western Australian desert is one of his biggest influences. Growing up, he didn’t know if he’d ever get out of it.
Photo by Mike White
- Fender Jaguars with humbuckers
- 1967 Guild Starfire
- Gibson ES-335 with Bigsby
- Fender Twin Reverb
- Fender Hot Rod DeVilles
- ’60s and ’70s Goldentone amplifiers
- ’70s and ’80s boom boxes in studio
- 4MS Mr. Ugly
- Bananana Effects AURORA
- Boss LS-2 Line Selector
- DOD Overdrive Preamp 250
- Jackson Audio 1484 Twin Twelve
- Line 6 HX Stomp XL
- Meris Ottobit
- Mid-Fi Electronics Magick “i”
- Montreal Assembly Count to 5
- ProCo Fat Rat
Strings and Picks
- Dunlop Tortex Standard Picks, .88mm
- Ernie Ball 2627 Beefy Slinky .011–.054
Aside from their own self-described “deranged spins” on “1983” and the Stooges’ “Ann,” the other three songs on the 36-minute EP are originals, credited, tongue-in-cheek, to fictitious bands like Men Men Menstruation and Compliments to the Chef. “Those are some of the band names that we used for our first four gigs,” explains Liddiard. “Since we just had that Hendrix song [for Submersive Behavior], and it’s 18 minutes long, it needed a B side, so that’s why you see some pretend band names on the album cover.” Even the title, Submersive Behavior, accurately sums up just how effective Tropical Fuck Storm is at bucking the status quo.
To color outside of the lines has been the band’s inheritance from the beginning. They formed in Melbourne, Australia in 2017, shortly after Liddiard’s previous band, the Drones, went on hiatus. Veteran musicians from Melbourne’s heavy music scene fill out the band, with fellow Drones alum Fiona Kitschin on bass and vocals, Mod Con’s Dunn on guitar and vocals, and drummer Lauren Hammel from High Tension. By combining elements of their previous endeavors, including rock, punk, and experimental music, and spearheaded by lightning-rod lyrics addressing climate change, political corruption, and societal unrest, Tropical Fuck Storm quickly developed a reputation for their musically chaotic live performances and unapologetic worldview.
“There’s lots of bands with guitars and it’s good. But other things, you just go, ‘What the fuck?’ Something’s really happening and it’s that almost careening-out-of-control thing.”
Dunn says restrictions imposed by the lockdown, like having to isolate from one another, set creative parameters that played a big part in the cultivation and evolution of the original material on Submersive Behavior. Liddiard had a hard drive full of jams that the band had shelved as “fuck-ups,” and when he had nothing else to do, he combed back through them, grabbing program and session files that the band had forgotten about. “He was mulling over things and seeing ideas in a new light, and he kind of fell in love with a few things,” says Dunn. “So he set the beds [backing tracks], which were mostly from mistakes. We all were grateful that he went mad. I mean, we were all going mad, but he really put his energy into that. So it was cool. The lockdown was to blame for that. Or maybe we should be grateful.”
After isolating and excavating material from hard drives, Tropical Fuck Storm convened and recorded Submersive Behavior in a house that they rent outside of Melbourne. Liddiard, who does much of the band’s engineering, relied mostly on Pro Tools as his DAW of choice. “We tried Ableton, but it was just too clean,” he says. “If you turn a drum machine on and you turn a metronome on at the same time, they’ll just stay in sync forever. But when we do it in Pro Tools, if you hear a drum machine start one of our songs, if you were to set a fucking metronome in motion, it wouldn’t keep up with the song because it’s all out of whack. It’s cool. We’re the loosest electronic band in history.”
“I thought, ‘Let’s do a Hendrix song, but what’s the most ridiculous and ambitious one?’”
The ways that Liddiard and Dunn interact with each other and arrange their guitar parts is an important pillar of the Tropical Fuck Storm sound. “There was always some conscious effort to get out of each other’s way, and to know where to double down,” says Dunn. “Gaz is just this unbelievable shredder, and my work is to be the bedrock, keeping something repetitive and rhythmic. I think we’ve really got it going now, having played a lot live, and having more intuition about, ‘Well, if you are going to chuck a wheelie, I’m going to hold it down.’ We understand that balance.” Dunn says that process includes making a conscious effort to carve out different sonic territory. For Braindrops, she put all her guitars through a “crappy boom box” to further separate the quality of the guitars.
To build the Hendrix centerpiece of Submersive Behavior, the band tracked the beginning and end of “1983” first, and then recorded the tripped-out middle section separately, making use of synthesizers and “weird shit” laying around. “We didn’t want to go down the route of the Stratocaster noodling in the middle,” says Liddiard. “A friend of ours had a 7′-long spring that bolts to a wall that’s got a pickup on it. And he uses a violin bow—that’s the drone underneath. So we did that. When we cut and pasted it into the song, and it worked, I was like, ‘Wow.’”
Erica Dunn's Gear
The punny new EP, Submersive Behavior, features three new songs credited to fake bands pulled from Tropical Fuck Storm lore.
Photo by Mike White
- Shub Jazzmaster with P-90s
- Fender Mustang
- Fender Twin Reverb
- Roland JC-120
- Electro-Harmonix Soul Food
- Gojira Fx “Mr Sparkle” Tubescreamer 808
- JHS ProCo Rat “Pack Rat”
- Pickletech Mega Berkatron
- Veternik Audio Fall Reverb
Strings and Picks
- Dunlop Tortex Standard Picks, .88mm
- Ernie Ball 2220 Power Slinky .011–.048
The idea of constructing a separate song section from odd elements, then dropping it into a quintessential classic rock song, sits well within Tropical Fuck Storm’s songwriting ethos. “We’ll try anything,” says Liddiard. “It’s always an act of desperation because when you start a record, there’s nothing. Sometimes we’ll get a drum machine or some kind of weird sampler to start us off in a way that isn’t your stock guitar or drum thing because when you sit down with a guitar and a real drum kit, you fall into habits. So if you can get a crazy little drum machine and plug it into an Eventide delay pitch shifter thing, it’ll come up with some chopped-up strange beat you would never have thought of. And maybe there’s a synth line in there that we’ll try and learn on guitar, and then we start jamming things out. Once we’ve started from that strange spot, we’ll move on.”
According to Liddiard, Tropical Fuck Storm song ideas are forged entirely in the studio and aren’t required to germinate in a live setting before making it onto a record. “Obviously, it’s a patriotic duty in Australia to admire AC/DC,” he chuckles. “But we’re not like them. We make stuff up in the studio, so we don’t even know what it’s going to sound like live when we’re doing it, because we’ve never played it live. We’re just trying to invent something and then we learn it later. Again, it’s desperately trying to get some material together.”
One might imagine that capturing such off-the-cuff-sounding recordings is challenging, but Liddiard’s ability to craft incendiary, seemingly improvised performances in the relatively controlled studio environment is rooted within some of rock’s most influential and freewheeling acts. The ability to toe the line between flawless execution and teetering on the brink of collapse is an art unto itself, and it’s a quality of performance and songcraft that Tropical Fuck Storm wholeheartedly embraces. “The minute I heard Van Halen, it was like hearing Black Sabbath or Led Zeppelin,” he says. “There’s lots of bands with guitars and it’s good. But other things, you just go, ‘What the fuck?’ Something’s really happening and it’s that almost careening-out-of-control thing. I love that. It’s a fun thing to do.”
“We’re just trying to push it out there and keep it fresh and interesting. It’s like Hendrix or Captain Beefheart, just looking for something that hasn’t been done.”
Despite the experimental, loose nature of their songwriting and recording process, Liddiard says a lot of his ideas should translate easily enough to and from an acoustic guitar. “Generally, everything we do is doable in the real world,” he says. “I’ll noodle on the acoustic guitar because you might have a riff, but you want to know what key it’s in, and then you want to know what keys you can move to as well.” But starting songs with guitars and ending with guitars is not something that particularly inspires him these days.
“I’ve been in bands for years, so with Tropical Fuck Storm, we’re just trying to push it out there and keep it fresh and interesting,” he says. “It’s like Hendrix or Captain Beefheart, just looking for something that hasn’t been done. Those are my favorite things. The adventurers like Van Halen or even people like Hubert Sumlin from Howlin’ Wolf…. He had a kooky style that no one had. He introduced the whole eccentric kookiness to that electric guitar thing.”
Tropical Fuck Storm like to experiment. To achieve greater separation of guitar tracks while recording, guitarist Erica Dunn ran her guitars through a busted old boom box.
Photo by Mike White
Dunn shares a lot of the same influences with Liddiard, including Hendrix, but ultimately describes herself as a very “tactile, hands-on sort of person,” and a bit more of a minimalist than Liddiard in terms of effects pedals. “I’m not like Gaz, who is a full-on, self-described nerd when it comes to pedals and knowing them and taking them apart and building them and making them work,” she explains. “I find a thing and I generally stick to it and then I push those parameters. Sometimes, if I’m given too much, I’m overwhelmed, and I shut down.” With that in mind, one of her preferred, go-to effects in any situation is a JHS-modded ProCo Rat. “It’s sort of your base-level sound effect. We had a show the other day and it looked like our bags weren’t put on the airplane and we were just laughing about what we might be able to borrow or beg or steal to make the show happen. And I thought, ‘If someone has a Rat around, I’ll be alright.’”
“I gravitated to the metallic clang of a guitar, the rusty, barbed wire sound like early AC/DC or Neil Young.”
When it comes to framing out their own territory in the modern musical landscape, one of the most significant influences that continues to profoundly affect the Tropical Fuck Storm sound is their geographical upbringing. Had Liddiard not grown up in Western Australia, they simply would not be the same band. “Western Australia is like Southern California or Arizona,” he says. “Really dry desert, but it’s also super vast. So I gravitated to the metallic clang of a guitar, the rusty, barbed wire sound like early AC/DC or Neil Young. It seemed to make more sense and it had a vastness in it because there’s literally nothing out there.”
Western Australia occupies a geographical space roughly the size of the lands between the Rocky Mountains and the West Coast of California. But in the U.S., there are densely populated cities and millions of people occupying that area. “In Western Australia, there’s just nothing,” Liddiard says. “There’s one city, and it really did have an effect.”
When Liddiard was a teenager in the ’90s, he felt like he couldn’t escape. He was too far from anywhere. But somehow, things worked out. “You feel so trapped and you feel like everything that’s happening in music is happening somewhere else, and you’ll never be a part of it,” he says. “There was never any pretension or effort to conform in any way musically. So we just did our own thing.”
The company's most iconic dreadnoughts lives again in American-built form—it’s both balanced and a cannon.
Since the 1950’s the Guild name has been synonymous with premium acoustic guitars that embody a rich heritage of USA-made craftsmanship. As the brand celebrates its 70th anniversary in 2023, Guild has released revamped versions of its classic D-40, D-50, and F-40 models in its all-new Standard Series.
The new Standard Series joins Guild’s USA product line just under its flagship 55 and Traditional models. The series offers players a blend of vintage appointments and modern aesthetic. Tailor-made for musicians seeking a contemporary guitar that exudes sophistication while embracing a tasteful simplicity distinct from the company’s premium lineup. Featuring dot neck inlays and unbound headstocks, the series also introduces Guild’s innovative Vintage Gloss finish - an ultra-thin nitrocellulose application with both satin and gloss qualities that highlight the natural beauty of the tonewoods. With an even and smooth texture, the Vintage Gloss is hand-sprayed and gives each guitar a worn-in vintage feel, all the while maintaining a strikingly contemporary and polished look.
The Standard Series not only reintroduces Guild’s legendary D-50, an iconic Spruce and Rosewood dreadnought that once stood as a cornerstone in the company's offerings until its production transitioned to California in 2014 but also resurrects it as the D-50 Standard. This revival fills a crucial Rosewood niche just beneath Guild's flagship D-55.
All Standard Series models feature an East Indian Rosewood bridge and fingerboard, premium 20:1 open-gear tuners, and hand-cut bone nut and saddle. Timeless appointments include a 60s style rosette, tortoiseshell pickguard, white ABS binding, and Guild’s peak logo inlaid on the headstock. All models are hand made in California and include a hand-signed, numbered certificate of authenticity, and ship with a Guild archtop wood case with a built-in Humicase® humidification system.
In the early days of electric bass, it seems ideas were just floating in the air. Here’s what one Japanese manufacturer came up with.
This month, I was asked to write about a bass guitar, which I think has only happened two or three times since I’ve been writing for this wonderful magazine. And since I’m the Wizard of Odd, I thought I’d pick an instrument that is probably one of the oddest around. So, we are going to look at the elusive and entertaining Teisco TB-64 6-string bass.
The history of 6-string basses begins in the mid ’50s with the Danelectro UB-2, followed by the truly awesome Danelectro Longhorn 6-string bass model. The initial idea for these instruments was to find a middle ground between electric guitar and bass. Almost immediately, these guitars found their way into the hands of players and ended up on many recordings, where they were often heard accenting a deep upright bass or providing a percussive “tic-tac” bass sound.
In 1961, Fender came out with its own version of the 6-string bass, called the Fender VI (or more commonly, the Bass VI). It was pricey and featured all the newest Fender innovations, including an offset body and a tremolo. This was a cool model that made its way into a bunch of studios and was most recently seen in the hands of John Lennon and George Harrison in Get Back.
Of course, across the Pacific, Teisco was crafting its own version of the 6-string bass, called the TB-64 (Teisco Bass from 1964). This guitar was similar to the Fender version, but, of course, is a little more extreme in all the right places. With its big, clown-nose headstock and the hole in the body, the TB-64 quickly became one of my obsessions. These are so hard to find in North America, although the same model was sold under a few different brand names, including Zim-Gar and Beltone. In fact, I don’t think I’ve ever seen this model in any English-language catalogs!
“From the big, clown-nose headstock to the hole in the body, the TB-64 became one of my obsessions.”
From my research, the TB-64 was first seen in Japanese trade magazines in June 1964. It was included in the 1964 Teisco catalog (Japanese language) and then it was gone in a poof. I know Teisco was making this model until mid to late 1965 (the striped-chrome pickguard era). Then it disappeared, which coincided with the sale of Teisco to the Kawai Company.
So, Teisco’s 6-string bass was very short-lived and is extremely rare today. It’s a shame, because these are perfect for bass newbies, and they just add an awesome new palette to your sound. With the tremolo, which works really smoothly, you can get a variety of spacey sounds. I play mine through regular guitar amps and these guitars love fuzz.
All versions of the TB-64 had the same basic components and features, except the pickups, which were rounded battleship gray on the earliest models. My version has the more commonly seen square-pole-piece units. Similar to the Fender VI, the TB-64 has an on/off rocker switch for each pickup. There’s also a mini-switch that toggles between a deeper bass tone and a brighter, guitar-like tone. There’s one volume knob and one tone knob, but the tone knob works backwards, acting as a bass cut. I’m not sure if they were all wired this way or not, but it all works well and gives the TB-64 a wide range of tones. The neck is fat and chunky, but still manageable. To me, it feels like I’m playing a long guitar. That’s 30" of scale length right there!
Some folks say these are baritones, and I suppose they can be with the right setup and strings. With my TB, I simply use Bass VI strings and tune E to E, one octave below a regular guitar. I know, I know…. You can argue all sorts of semantics and setups and string selection, but you can take that down the street! Why? Because during my last trip to Japan, I bought this here guitar, in its lovely green glory, from a fellow collector and historian. He bought it from the original owner, named Takayoki Ito (he engraved his name on the lower black control plate!). And guess what—Ito-san played the guitar the same way with the same setup.