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Big Sound in Small Packages

By Teja Gerken

Ten great small-bodied steel-strings under $1,500

 

In a world in which more and bigger are generally considered better, the small-bodied guitar is sometimes overshadowed by its larger and more popular cousin, the dreadnought. But many players prefer smaller instruments for a variety of reasons. Physical size is one important consideration. Smaller players can have a hard time getting comfortable with a dreadnought or a jumbo guitar. The large lower bout and deep body can cause discomfort, especially in the right arm. Even bigger folks may find that smaller guitars allow them to concentrate on their technique rather than on merely holding the guitar in their lap.

Another perhaps more important reason for choosing a small-bodied guitar is the instrument’s sound. Although they’re generally not as powerful as dreadnoughts or jumbos, many small-bodies have a more delicate voice with great balance and intriguing tonal complexity. Fingerstyle players are often drawn toward smaller guitars because of their quick response and the rich sound they can elicit with a soft attack. Many of these instruments also feature wider necks than those typically found on dreadnoughts, which facilitates fingerstyle technique. Because they’re less boomy and tend to be easier to control in high-volume situations, smaller guitars are often favored on stage or in the studio as well. Many players also appreciate their bright timbre, and those who play in bands might find themselves competing less with the frequency range of the bass player.

For all of these reasons, more and more manufacturers are now producing affordable small-bodied guitars. We gathered ten such instruments for this review, all of which list for less than $1,500. Most of the instruments we received feature dimensions similar to the Martin 000 or OM. We were impressed with the batch of guitars we reviewed. The level of craftsmanship and quality of tone were astoundingly high across the board, and they all came superbly set up (although every guitar needs to be adjusted to suit the needs of the player who buys it). All of the instruments reviewed have solid spruce tops, but they feature a variety of woods (both solid and laminated) for the backs and sides. Their designs range from visually plain and unassuming to rather elaborate. Seven of the guitars feature traditional or modified dovetail neck joints, and three of them (Seagull, Tacoma, and Taylor) feature bolt-on necks. The width of the necks and the string spacing varied from instrument to instrument as did the scale lengths. Players with small hands may prefer a short scale with a narrow neck, while others might go for something bigger. In order to assess the guitars, we played them in a variety of styles and tunings and flatpicked and fingerpicked each one.

ALVAREZ-YAIRI
FY-84

The FY-84 offers an interesting mix of Alvarez-Yairi’s distinct design and traditional OM-style features. While the guitar’s shape and size don’t hold any surprises, the FY-84’s unique Direct Coupled Bridge helps distinguish this instrument from other guitars. The strings are installed directly into the top through an ebony reinforcement plate behind the bridge, and they are thus able to cross the saddle at a much steeper angle than what is possible with a traditional bridge. This design promises greater sustain and volume and helps keep the bridge from becoming unglued.

Visually speaking, the FY-84 is understated and classy, with a clear pickguard and a dark ebony fingerboard with almost no inlay. The guitar is constructed with beautiful woods, and the level of craftsmanship is high. The instrument we reviewed was set up to work for a variety of playing styles. Although the neck has a comfortable width, the guitar’s string spacing at the nut is a bit narrower than the average, which makes it feel a little cramped for large hands. Soundwise, the guitar has a very balanced voice, but we found it a little boxy and tight, and heavy strumming resulted in some loss of definition. As with any solid-top guitar, these characteristics could change as the instrument opens up with age. Overall, this would be a great guitar for the player looking for a versatile instrument, solid performance, and a nice, clean design.

GIBSON
WORKING MUSICIAN 00

$1,459 with hard-shell case. Limited lifetime warranty. Solid spruce top, solid mahogany back and sides, morado fingerboard and bridge. Nut width 1 11/16 inches. 24¾-inch scale.

The Working Musician 00 is a small-body based on historic Gibson models, such as the L-00 and Nick Lucas. Conceptualized and designed by Gibson Montana’s chief luthier, Ren Ferguson, the guitar packs a lot of sound and "Gibson feel" into its small package. Its toned-down looks (simple rosette and inlay), basic construction (such as no fingerboard binding), and less expensive choices of wood (morado for the bridge and fingerboard, visually plain choices all around) enable this quality instrument to be offered at a lower retail price than most other Gibson acoustics. It features a traditional dovetail neck joint, a classic Gibson neck, nitrocellulose lacquer, and scalloped top bracing. The instrument we reviewed was set up with relatively high action, making it a little hard to play despite its short scale length and resulting lower string tension. We were rewarded, however, with a fat sound, surprising volume, and excellent balance, particularly when the 00 was strummed with a pick. Fingerpickers with a soft touch may wish for a quicker response, but players looking for an accompaniment instrument would do well to check this one out.

GUILD
F-30

$1,399 with hard-shell case. Limited lifetime warranty. Solid spruce top, solid mahogany back and sides, rosewood fingerboard and bridge. Nut width 1 11/16 inches. 24¾-inch scale.

The reissue of Guild’s F-30 marks the return of a classic. A favorite among ’60s folkies, the guitar was discontinued in the ’80s, and used examples are now sought after on the vintage market. While not an exact replica of the original—several structural modifications have been implemented on all Guilds over the years, and this particular model is built a bit lighter than F-30s of yesteryear—it does capture the essential qualities that made the original F-30 popular. Craftsmanship, finish, and choice of materials are all up to Guild standards. Fingerstylists may find the relatively skinny neck and narrow string spacing inhibiting, but if you have small hands or strum your guitar to accompany songs, you may find that the Guild is just the ticket. Although it doesn’t possess the rich bottom end of some guitars, the little Guild’s voice features a nice, warm midrange and good string-to-string balance. The guitar’s short scale and low action make it a breeze to play, which would make it a great instrument for beginners.

LARRIVEE
OM-05

$1,495 without case. Limited lifetime warranty. Solid spruce top, solid mahogany back and sides, ebony fingerboard and bridge. Nut width 1¾ inches. 25.5-inch scale.

Despite the Martin influence made clear in this instrument’s OM designation, this is not a straight copy of an orchestra model. It features some signature Larrivée design elements, including a unique, symmetrical bracing pattern, wooden binding, and tiny inlaid position markers on the fingerboard. The OM-5 is constructed with the most attractive woods of this bunch of guitars.The mahogany back and sides, tight-grained spruce top, dark ebony fingerboard, and details such as flamed-maple binding are all top notch; there are no "for the money" disclaimers needed here. Although the Larrivée’s setup was on the stiff side, it played very evenly and buzz-free all the way up the neck. The OM-5 offers complex tone, balance, warmth, projection, and rich overtones. This would make an excellent guitar for both fingerstylists and strummers.

MARTIN
OM-1

First introduced in the 1930s, Martin’s OM design is the inspiration and yardstick for all the guitars featured in this review. This kind of history is a lot to live up to, but this least expensive member of Martin’s OM family delivers the goods. Although it was introduced in the spring of 1999, the guitar has already proven itself as the 000-1 (reviewed in our March/April ’95 issue). The only difference between the two models is the neck width. The high-quality craftsmanship, basic appointments, and satin finish add up to a fine yet subtle instrument. The OM-1 we reviewed came set up with very low action, making it a breeze to play. The neck features a flatter profile than that found on vintage OMs, which lends the instrument a modern feel. The sound, while not the brightest in this group, is instantly recognizable as that of a Martin. Rich bass, clear mids, and round highs all contribute to the signature Martin sound. It would be a great choice for guitarists of every style.

SEAGULL
GRAND ARTIST

Manufactured by Canada’s La Si Do, the Seagull Grand Artist wins the prize for being the cutest guitar in this lineup. Its tiny size (the body measures only 13 inches across the lower bout) suggests a kinship with 19th-century parlor guitars rather than the orchestra and grand concert models that appeared much later. Still, the Grand Artist boasts a full scale length and fairly standard neck width and string spacing. While it shares the somewhat boxy look of Seagull’s less expensive models, the guitar features a high-gloss lacquer finish and is made from quality woods all around. Its diminutive size prevented the Grand Artist from competing with the other instruments in terms of volume and available frequency spectrum. However, it was amazingly comfortable to play and offered a sweet voice that sounded pleasant by itself and could also be a nice addition to an arsenal of bigger sounds. This would be a great, inexpensive guitar for the small player and a classy alternative to the travel guitar.

TACOMA
EM19C

Tacoma’s EM19C is a new instrument by the innovative company known for offset soundholes. The EM19C features traditional design elements as well as some unique details, including Tacoma’s unusual bracing pattern, which includes an asymmetrical bridge plate and an oddly shaped bridge. These elements, as well as black hardware, a plain fingerboard, and a sunburst finish, give the EM19C a lot of individual character. It is also the only instrument of the batch that features a cutaway. The materials on the guitar we reviewed were satisfactory, and the craftsmanship was flawless. The EM19C was set up perfectly for a soft touch. It responded quickly, and the notes rang out evenly across the fingerboard’s range. The string spacing was extremely finger-friendly, and it quickly became clear that the EM19C would be an ideal choice for fingerstyle players. Although the guitar’s sound is not overly complex, it does hold its own, especially when fingerpicked.

TAKAMINE
F470SS

This guitar is part of Takamine’s recently introduced line of steel-string guitars built of all solid woods. Constructed with gorgeously flamed koa back, sides, and headstock overlay, as well as an exotic wood rosette and inlays, the F470SS is visually stunning. The craftsmanship is excellent, and our test guitar was set up with a good compromise for a variety of playing styles. The break angle of the strings over the saddle is very low, which could lead to problems with under-saddle pickups and will also make it difficult to lower the action if the guitar changes with age. (Takamine says there have been no such problems, however, and that these instruments should not need later adjustments.) Although the F470SS’ sound is somewhat two-dimensional and lacks a unique character, its amazing clarity would help it cut through other sounds, making it a good choice in a band context. Players who are looking for a versatile ax with looks to kill will want to check this one out.

TAYLOR
314

In 1994 Taylor introduced the Grand Auditorium to its line in order to celebrate the company’s 20th anniversary, and it has quickly become Taylor’s most popular body shape. The 314 is the least expensive member of the Grand Auditorium family, but it displays the same level of craftsmanship that’s found on Taylor’s more expensive models. Featuring Taylor’s new neck design (which includes a finger-jointed headstock and a bolts-only neck-to-body joint), the 314 is extremely stable as well as easy to adjust. The instrument we reviewed was set up to play effortlessly, and it exhibited a nice balance and buzz-free playability up and down the neck. It sounds like a typical Taylor, with clear highs and great sustain but also a rich bottom end. This is the largest and most powerful guitar of the bunch reviewed. It performed equally well played fingerstyle or flatpicked, giving it great versatility.

YAMAHA
LS-500

Long known for its high-end classical guitars, Yamaha only recently entered the all-solid-wood steel-string market with the LL-400 dreadnought and the LS-500. Constructed with beautiful dark rosewood back and sides, a nice spruce top, and multilayered binding, the LS-500 exudes class. The polished frets, excellent craftsmanship, and exceptional setup added to the impression of quality. The Yamaha has a big sound, particularly when strummed. The high end is a bit brash, especially when the guitar is played with a heavy right-hand attack, and the balance between the bass and treble strings could be improved. Overall, however, the LS-500 made a very solid impression and would perform well in a variety of settings, particularly as an accompaniment instrument.

DECISIONS, DECISIONS

These ten guitars exhibited an unprecedented level of quality. Our individual favorites depended a lot on our playing styles. As a fingerstyle player, I probably enjoyed the Larrivée OM-05 and Taylor 314 the most, but the Martin OM-1 and Tacoma EM19C also offer top-notch quality and playability at down-to-earth prices. Gibson’s Working Musician 00 is a great little strummer, as is the Guild F-30, which also features a generous helping of vintage vibe. The Alvarez-Yairi FY-84 and Yamaha LS-500 offer nice all-around versatility in an attractive package, and the woods used to build the Takamine F470SS are simply stunning. And if you’re looking for a really small guitar, the Seagull Grand Artist might be your favorite. Most of these guitars are also available with factory-installed pickups, and some have siblings with cutaways, making the range of excellent choices even wider. Whether you’re a first-time buyer or a seasoned pro, there should be a guitar for you in this lineup.

Excerpted from Acoustic Guitar magazine, April 2000, No. 88.

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