Laguna Beach, CA (October 18, 2007) – A brand-spanking new guitar company is entering the industry with guitars designed “by players for players.”
The people behind Laguna guitars approach the craft of guitar making from the guitarist’s perspective. The company builds instruments based on the philosophy that the best guitar designs flow from a single source: the needs of the player. It is a belief that drove them to set tradition aside, ignore the “but-that’s-how-it’s-always-been-done” approach, and instead listen to guitarists’ voices and watch their hands. Asking a thousand different questions in a thousand different ways helped Laguna forge what they call a new kind of guitar design philosophy—one that is “player-driven.” The result is a comprehensive line of acoustic and electric guitars that guitarists help to create.
For example, guitars player told designers that the thumbscrews on the back of most locking-tuners are easy-to-lose, so Laguna developed lightweight tuners that are self-locking from the front. To restring, the player simply inserts the new string all the way and begins turning the tuning machine knob. The self-locking mechanism clamps the string and it''s in tune about halfway around the post, eliminating the winds from binding (and putting the guitar out of tune) during aggressive tremolo use.
Guitarists also expressed the desire for a tougher graphite nut, so Laguna incorporates nuts that are Teflon-reinforced and self-lubricating. Another example: instrument owners often find themselves frustrated with extreme back bowing that renders a guitar useless and unplayable, so the company spent extra research and development time designing a dual action truss rod to eliminate this problem — at no extra cost.
Frets were chosen for their low-profile, low-mass feel to make the neck almost "fretless" fast and give the neck a nice "woody" tone.
The company strives to provide guitarists with premium quality without premium pricing. It offers swamp ash bodies and thick dark Indian rosewood fretboards on comfortable Canadian hard rock maple necks, as well as strap locks that are inset into the guitar body — all without the usual custom upgrade pricing.
Electric Solidbodies
LE222
- Smoothly contoured basswood body
- Premium hardware
- Custom-wound C4 ceramic humbucking pickups in an SSH configuration... double-potted to reject feedback.
- Estimated street price: $299.99
LE322
- Louisiana swamp ash body
- Premium hardware
- Custom-wound Alnico 5 pickups (SSH) with coil tap gives plenty of mid-range punch to complement the rich low-end and snappy bite of the ash body.
- Estimated street price: $399.99
LE422
- AAA flamed maple veneer
- Premium hardware
- Estimated street price: 499.99
LE524 (photo above)
- Rosewood flat-radius fretboard on North American hard rock maple neck
- 24 jumbo frets
- Premium hardware
- Coil-tapped, custom-wound Alnico 5 humbuckers
- Floyd Rose-licensed locking tremolo system
- Estimated street price: $599.99
Acoustics
LD2 Brat
- 7/8 Dreadnaught
- Solid spruce top
- Mahogany back and sides
- Estimated street price: $299.99
LG4
- Grand Auditorium-style
- Choice of bubinga or quilted ash.
- Fishman preamps
- Estimated street price: $499.99
LG6 (photo above)
- Grand Orchestra –style
- Fishman Prefix Plus electronics
- Choice of Ovangkol back and sides and a solid spruce top, or solid cedar top with rosewood back and sides
- Estimated street price: $699.99
“We designed Laguna guitars with the wants and needs of players in mind” stated Michael Doyle, Vice President of Product Marketing. “We know that guitarists have come to seek out specific enhancements that bring their instruments up to a certain standard of playability, tonal and aesthetic quality – what other manufacturers usually consider to be ‘upgrades’. We strive to give all players these advantages from the start, in a variety of instrument styles and configurations, while providing a professional value that players can really enjoy. From our extensive research and design experience we know that better guitars equal better players, and that is where Laguna Guitars shine.”
The complete range of Laguna Acoustic and Electric Guitars is available immediately. Laguna Ultimate Rock Packs that include a Laguna guitar and a Line6® amp will also be available.
For more information:
PlayLaguna.com (Site set for launch on October 23, with full digital content on November 15)
“All the kids in all L.A. / Come to hear Dick Dale play,” or so goes the title track from Dick Dale’s Wrecking Crew-heavy 1963 album, King of the Surf Guitar. Immodest though it might seem to proclaim such a status, he was indeed at the top of the heap.
For many, Dale’s legend precedes him. His sound, first heard in a So Cal beach ballroom, created the surf guitar vocabulary and transformed the guitar universe, starting with the 1962 release of his take on the traditional song “Misrlou.” Ever the showman, he worked closely with Leo Fender developing the right gear for the gig as he played his ripping instrumentals to larger and larger audiences. He also inspired a Hendrix lyric and had a late-career renaissance thanks to Quentin Tarantino.
In this episode of 100 Guitarists, we’re talking all things surf rock, from reverb to tremolo picking and much more. And while “Misrlou” is undisputedly his most influential work, maybe Dale’s best records didn’t come until a few decades later.
This episode is sponsored byTraveler Guitar.
This late-’90s Masterbilt was made to mimic the feeling and look of vintage luxury.
Some guitars just feel expensive. Not in an “I shouldn't be touching this, lest I scratch it” way so much as simply exuding luxury. Maybe it’s the flawless ebony fretboard, making gliding up and down the neck feel like ice skating. Or perhaps it’s the slim, ’60s-style neck shape which felt instantly comfortable in my small hands. It may have something to do with the sumptuously low 2/32" action at the 12th fret, requiring hardly any effort to play.
Makes sense, considering this guitar’s origin story. Mac Yasuda was born in Nishinomiya, Japan. At 15, he discovered the music of Hank Snow and fell in love with country music and the guitar itself. He stole a classical guitar from his cousin (“He never played it,” said Yasuda) and started a band with his friends. Yasuda traveled to the States in the ’70s and after picking up his first vintage guitar from a pawn shop, he was hooked. He began scoping out gear for his friends, which eventually grew into a shop called Mac’s Guitar Gallery in Kobe, Japan. By the ’90s, he estimated he had owned between 4,000 and 5,000 instruments, and his collection was valued at $3 million. He has authored several books about vintage guitars and is widely considered one of the world's preeminent authorities on the subject.
Yasuda is also an accomplished musician. While in Nashville in the ’80s—perhaps for one of the half-dozen times he’s performed on theGrand Ole Opry—he met Greg Rich, an instrument designer who was then head of Gibson’s banjo division. Yasuda enlisted Greg Rich and another guitar maker named Mark Taylor to produce a line of high-quality, vintage-style instruments under the name Masterbilt. “Vintage guitars are fine, but they're limited,” said Yasuda at the time. His Masterbilt guitars would give us mere mortals the chance to get a taste of the luxurious feel of a fine vintage instrument. Masterbilt debuted at NAMM in 1997, and it’s still unknown how many guitars were actually produced. The trademark of the Masterbilt name was cancelled in 2005 and has since been used by other brands, like Epiphone.
“Some folks think anything from the ’80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in.”
Fanny's House of Music believes this guitar to be an early prototype, one of six ever made. Three were sunburst and three were natural. Playing it feels like playing any fine vintage 335; funny when you consider that at 27 years old, some would consider this Masterbilt vintage itself. The notion of what is considered truly “vintage” is hotly debated on Reddit every few months. Some folks think anything from the ’80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in. Some guitars from the ’80s are now 45 years old! We consider guitars from the ’90s to be vintage at this point, so this 1998 Masterbilt prototype fits right in.
This Masterbilt is now 27 years old. In your books, does that make it a “vintage” guitar?
Photo by Madison Thorn
It’s a good example of how history and passion can intersect to create something special. This guitar tells a story of dedication to quality and an appreciation for the feel of a well-made instrument. Whether or not a 27-year-old guitar qualifies as “vintage” may be up for debate, but the magic in this guitar definitely isn’t. If you’re ever in Nashville, stop by Fanny’s and take it for a spin. You might find yourself feeling a bit like I felt after my unexpected ride in a Jaguar: getting a glimpse into the world of understated elegance, where refinement isn't about flash but about experiencing something crafted to near perfection.
SOURCES: namm.com, Los Angeles Times, Blue Book of Guitar Values, Vintage Guitar, Guitar-List.
British metal icon and Bring Me The Horizon guitarist Lee Malia has partnered with Jackson to create his signature LM-87, a shred-ready axe built for heavy riffing and alternative modern metal. As a founding member and lead guitarist of the Grammy-nominated band, Malia is renowned for his aggressive playing style and intricate solos. This high-performance guitar matches his demanding musicality.
With its offset Surfcaster™ body shape and vintage appeal, the LM-87 melds classic design with modern appointments. The thin open pore finish on the bound Okoume body and neck exudes organic style, while the unique 3-ply pickguard and chrome hardware add striking accents. The fast D-profile 3- piece okoume neck allows smooth riffing across the bound amaranth fingerboard.
Custom Jackson signature pickups, including a bridge humbucker with push-pull coil-split, equip the LM-87 with versatile tone-shaping options to fulfill Malia's sonic vision. The TOM-style bridge with anchored tailpiece and fine tuners provides rock-solid stability for low tunings and heavy picking.
Designed in close collaboration with the legendary guitarist, the Jackson Lee Malia LM-87 is built for shredding. Its blend of vintage vibe and high-performance features make this signature model a must-have for players who value commanding metal tone and smooth playability.
The Tune-o-matic bridge with an anchored tailpiece and fine tuners offers enhanced tuning stability and precise, incremental adjustments. This setup ensures consistent pitch control, improved sustain, and easier fine-tuning without affecting overall string tension.
The guitar’s three-piece set-neck guitar with graphite reinforcement offers exceptional strength, stability, and resistance to warping. The multi-piece construction enhances sustain and tonal clarity, while the graphite reinforcement adds extra durability and prevents neck shifting due to humidity or temperature changes. This design ensures a solid, reliable performance with improved resonance and longevity.
Features Include:
- Okoume body
- Three-piece okoume set neck construction with graphite reinforcement
- 12"-16" compound radius amaranth fingerboard
- 3-ply pickguard
- Chrome hardware
- Custom wound Jackson LM-87 pickups
- Volume with push-pull coil-split and tone control
- TOM-style bridge with anchored tailpiece and fine tuners
- Gig bag included
The Jackson LM-87 carries a street price of $899.99.
For more information, please visit jacksonguitars.com.
Unleashing the Pro Series Signature Lee Malia LM-87 | Jackson Guitars - YouTube
Jackson Pro Series Signature Lee Malia LM-87 Electric Guitar - Open Pore Black
