Takamine Guitars unveils their annual Limited Edition acoustic-electric guitar, the LTD2025.
Takamine Guitars (NAMM Booth 210D) has unveiled their annual special Limited Edition acoustic-electric guitar. Available in very limited quantities and created for serious musicians and instrument collectors alike, this year’s model is the LTD2025.
“The LTD2025 is a guitar with looks that match its superb sound,” says Tom Watters, Director Product Development for Takamine Guitars. “Each of these guitars are built one at a time, completely by hand, by Takamine’s renowned luthiers. We’re sure that this distinctive instrument will be coveted like our previous LTD models have been.”
Painstakingly handcrafted in extremely limited quantities by Takamine’s respected luthiers in Japan, the Takamine LTD2025 is an OM Cutaway guitar that features a top that’s crafted from solid Engelmann spruce, and a body made of exquisite Hawaiian koa, offering a rich and dynamic tonal quality. Its Antique Evergreen gloss finish not only highlights the guitar's aesthetic appeal, but also gives it a timeless and distinguished look.The LTD2025’s body boasts stunning tortoise binding along with abalone purfling, adding a touch of sophistication to its classic design. Its mahogany neck offers an ebony fingerboard that’s adorned with brass position markers, designed to age beautifully over time, enhancing its vintage charm.
The LTD2025 offers electronics that are equally impressive, featuring Takamine's renowned Palathetic pickup system and the retro-inspired CTF-2N FET preamp, providing both excellent sonic fidelity and a natural, warm tone.
For more information, please visit esptakamine.com.
U.S.-made electronics and PRS’s most unique body profile make this all-American S2 a feast of tones at a great price.
Many sonic surprises. Great versatility. Excellent build quality
The pickup selector switch might be in a slightly awkward position for some players.
$2,029
PRS S2 Vela
prsguitars.com
Since its introduction in 2013, PRS’s S2 range has worked to bridge the gap between the company’s most affordable and most expensive guitars. PRS’s cost-savings strategy for the S2 was simple. The company fitted U.S.-made bodies and necks, built using the more streamlined manufacturing processes of PRS’s Stevensville 2 facility, with Asia-made electronics from the SE line.
But with the introduction of the 2024 S2s, PRS made a critical change to that formula. Now, the S2s use the same homegrown pickups and electronics featured in PRS’s Core lineup, which, depending on your perspective, makes the new S2s more like entry-level Core guitars rather than instruments situated a whole rung down the status ladder. The U.S.-made electronics mean a price bump from older S2s that averages around $300. But in the case of the pretty S2 Vela reviewed here, that adds up to slightly more than $2K, which among American-made solidbodies represents a fairly competitive price.
Less Flash From the Birds
Among PRS purists, at least, the offset Vela has always been a bit underappreciated. The new S2 version is a lovely guitar, though. It’s built around a solid mahogany body and set mahogany neck with a rosewood fretboard, and the asymmetrically beveled shape provides forearm comfort and helps set the Vela apart from more slab-like offset designs. Though the asymmetrical double-cutaway and horns echo classic PRS looks, there’s also something a bit SG-like about the overall result. It’s impressively lightweight, too, at just less than 7 pounds. Our review guitar came with a gloss finish that PRS calls scarlet sunburst, but four other gloss options are available, or you can save yourself about 300 bucks and opt for a satin-finish version.
The neck is carved to PRS’s “pattern regular” shape, a comfortably rounded medium-depth “C,” with a width of 1 21/32" across the nut and 22 medium-jumbo frets. The scale length is 25". Synthetic bird inlays grace the unbound fretboard, but the rest of the cosmetics are elegantly austere, which helps reduce the price, but will also appeal to players that like the PRS profile but care less for the flash.
“One of the cool things about this model is that it doesn’t sound quite like anything else.”
The S2 Vela’s pickup complement includes a U.S.-made DS-01 humbucker in the bridge position and a Narrowfield humbucker in the neck spot. This configuration differs from earlier S2 Velas, which used a DeArmond-style Type-D single-coil in the neck position. Wiring and switching use the same components as Core models. In addition to the 3-way toggle, there’s a push-pull pot on the tone control that splits the coils of the DS-01. This feature employs elements of the popular DGT wiring, which uses a resistor between the push-pull switch and ground, so part of the “dumped” coil output remains to fatten the signal and tone.
Hardware includes a set of PRS Low-Mass locking tuners at one end, and the relatively new plate-style non-vibrato bridge at the other. The bridge employs slots for top-loading the strings, and two 3-string brass saddles, each milled and angled for compensation and adjusted with two intonation screws per saddle for further fine-tuning. The setup is effective. The Vela rings like a bell when played unplugged, and intonation is perfect right out of the included gigbag. The setup also made the S2 Vela an easy player across the whole neck—a PRS hallmark, most would agree.
Vicious Vela-ciraptor
Paired with black-panel Fenders, Marshall-style heads, and a Fractal FM9 modeler, the S2 Vela is very versatile despite some distinctly retro sonic leanings. One of the cool things about this model is that it doesn’t sound quite like anything else. If you need sonic archetypes for reference you could consider the DS-01 a blend of the Gretsch Filter’Tron and the PAF-style Gibson humbucker, while the Narrowfield sounds a bit like a low-wind P-90 crossed with a Stratocaster pickup. Together they add up to a very original palette and plentiful options. This is a guitar that can do a little of everything and just about anything a gigging player would need on a given night.
In full humbucking mode, the bridge pickup can send overdriven sounds to soaring lead-tone heights. And while there’s arguably a brighter, more biting edge here than some traditional humbuckers express, it’s not harsh or shrill. Tame the distortion at your amp or gain pedal and you can use the DS-01 for thick tones ranging from fat cleans to crunch, each in their own distinctive color. In single-coil mode, too, the DS-01 doesn’t obviously reference any specific tone template. Brighter and lighter than the full-humbucking tone, it’s also a little scooped and even slightly out-of-phase sounding, even though it isn’t out of phase. It serves all kinds of jangly, chimey styles well, and truly shimmers through modulation and reverb effects.
The Narrowfield pickup, meanwhile, is well-suited to the neck position, delivering the warm feel of a vintage humbucker without the dull or muddy response that is often a trade-off. It adds a touch of extra cut to the bluesy leads and mellow rhythm work that you’d usually use a neck pickup for, but with an appealing richness and depth that are, again, very much their own.
The Verdict
Whether you need Telecaster twang, throaty Strat-like blues tones, grinding garage-rock crunch, or something more distinct, the S2 Vela is game. It’s well-rounded and impressively well-made, and the styling and sound are simultaneously fresh and retro-leaning in ways that can and should broaden PRS’s appeal. Together, the lightweight mahogany body, plate-style bridge with brass saddles, and DS-01 and Narrowfield pickups produce resolutely different tones within the PRS family and among many solidbody standard bearers. And it achieves these ends with gusto, flare, and value that make it a very appealing option.
USA-Made Pickups Now in PRS Guitars S2 Vela & Custom 24-08 | First Look
This Valco “mutt” guitar was built with leftover parts at a Japanese factory, including an old tremolo, random pickups and switches, and a bridge that makes it difficult to intonate.
When you’ve built your entire life around guitars, our columnist says, it’s shockingly easy to connect their history with just about anything—including dogs.
I was talking to my wife the other day about selling guitars. My daughter wants a car, so I’ve been unloading a few nice electrics on fellow collectors with the hope that I can get my girl something safe to drive. My wife and daughter were joking about how much guitars are a part of our lives, and how I can connect anything to guitars, design, and music.
Seriously, you can present me with just about any topic and I can probably wrap some guitar lore around it. My wife asked if I had ever connected guitars and animals, and I got to thinking about it. Maybe I had? But, just to show her I can tell a tale, this month I’ll be writing about our dogs and “mutt” guitars!
So, back in 2015, I was searching a pet-finder website, looking to add a dog to our family. The kids wanted a dog, and even my wife, who has awful allergies, accepted the fact that we all had a lot of love to give to a pet. I was searching adoption agencies, primarily looking for a dog that didn’t shed, when I happed upon the cutest little puppy! His name was Bucky, and the story went that he and his littermates were born in a barn in Ohio. The mom had passed away shortly after giving birth, so the litter was being rescued by a local adoption group. I started to fill out the forms and do all the paperwork to get little Bucky, but then I saw he also had a brother that hadn’t been adopted! So along with Bucky came his brother Brody, and that spring, we welcomed two of the sweetest little boys into the family.
These two were trouble from the get-go, but we loved them, and I have to say that the year we got them was one of the best years of my life. The boys looked pretty similar, each having a light tan color; almost vanilla. But no one could figure out what breeds they were. Like, they were total mutts! Some terrier, some poodle, some hound? We heard it all. In the end, it really didn’t matter, because these mutts were ours, and we were gonna love them, no matter what.
Okay, so back to guitar land. This topic got me thinking about “mutt” guitars. See, back in the day, a lot of guitar factories all over the world would try to use up parts. The CBS Fender era was a notorious time for strange designs that were meant to use up stock. The Japanese makers did the same, with similar results, but a little more extreme. All the time, I see guitars that had left a factory with a mixup of parts, and sometimes I’ll see something that I’ve never seen before. These “mutts” can perplex and bewilder collectors because it seems like some of these were one-offs.
“The CBS Fender era was a notorious time for strange designs that were meant to use up stock.”
Take, for instance, the mutt I’m presenting here. The body and neck are from the late-’60s Valco run of guitars, known as Lexingtons. I’ve written about Lexington guitars before and how much I like them, but this guitar is a total weirdo. Why? Because the pickups, electronics, and tremolo are all Japanese sourced. Which begs the question, why are we seeing a factory stock guitar with a mix of such disjointed parts? Well, these were the mutts!
The Valco company, located in Chicago, was in the final years of production, and started sourcing out bodies and necks to Japan. In other words, those parts were made in Japan, shipped to the U.S., and Valco would then put on their U.S. parts and pickups. But this strange bird was finished off in Japan—which is where I found this guitar—using a super old tremolo, the odd switches, rando pickups, and a really basic bridge that didn’t allow for any intonation. How did it sound? Meh. How did it play? Meh. It was simply a hastily made guitar, using up leftover parts.
Mutt guitars are a real mixed bag. Some are okay, some are amazing, and some are real stinkers. But there is some fun in finding these rarities. If you have the time, the search is the greatest thrill, just like finding two good dogs. This one is for my mutts, Bucky and Brody!