Nail returns is a technique i'm sure i've seen a lot from wonderful players such as yourself, but never really noticed. I own two acoustics, a wonderful 20 year old d-16 and a brand new 200 dollar yamaha. I find I play the yamaha more, because of the string spacing, much more comfortable for fingerstyle, but the my older martin has a lovely dark tone and feel, very inspiring. I'm going to practice nail returns, much appreciated, as always you have introduced me to many wonderful things and artists, I really appreciate what you do, take care!
Wow it’s not just me then? Having recently bought a hand made Brook guitar and immediately sold my Yamaha LS6 I just wished I’d of kept it as the deeper neck and string spacing suited me. Yamaha do make fabulous guitars for the price and of course the hand made ones for the serious players are very highly thought of.
@@andrewbowen6875 I love my Yamaha and would love to play a handmade one. I only recently became familiar with them a year or so ago, and there is just nowhere around my neck of the woods to try a handbuilt yamaha. The spacing and feel on mine is so ridiculously nice for its price, I understand more and more the deep affection people have for their yamahas, cheers!
"Balance, Headroom, Space for restraint and control, Dynamic Range and Power" I totally agree with you. This guitar sounds really good. Maybe this is why I also like the Super Jumbo by the Canadian Marc Beneteau. I don't get caught up on guitar types. If it feels right, sounds great, captivates you or puts a smile on your face it's a fine guitar. Great video!
Thank you so much for watching Michael! You do raise a great point - there is a lot to love with a big guitar and there are subtle and not so subtle sonic differences between the different designs - and yes, if it makes you smile, or weep copiously at the unutterable beauty of the eschatological perfection of each note then the job has been successfully done!
Utterly describes my Martin J40. How strange that the Gibson J200 doesn't have these characteristics. Much more one dimensional in my opinion - although still a great guitar, even if Stefan Grossman described Rev Gary Davis's as sounding 'like a washing machine'!
Thank you Robert, I look forward to your comments just as much. I am moved by your response and can only really reply with “Plethora”. (That means a lot)
Thanks for sharing this well done video, I appreciate what you are doing here! I've been fortunate to play quite a few Modified Dreadnoughts from several different builders including Somogyi. and a bunch of his apprentices. My favorite Mod D I've played was actually made by Tom Doerr. Another fly under the radar instrument that wouldn't normally get classified as such.... I would argue a Goodall Standard is also some what of a Mod D as well. Play one with a European Spruce top or Redwood top and it will very much so impress for finger style playing!!
Thank you for watching Bobby! I like Tom Doerr’s work very much. I’ve only played a few but I’ve been very impressed with the skill and passion that goes into them. Yes, the Goodall Standard goes into MD sonic territory at some points although it is constructed along different principles
All the while, while you were playing the Martin I was wishing you would pick up a plectrum... and when you did it came alive!! The Kostal sounds amazing in your hands!
Thank you so much Philip! That Martin is a wonderful guitar - and yes, you could see my response when I took a pick to it! Kostal MD #32 is pretty much part of my arm at this point. It’s been a wonderful 10 years
Michael thank you, I found this video very useful. I have recently bought a Somogyi Mod D. It impressed me more than any other guitar I've played, but I'm still trying to analize and understand this magic guitar. This video gave me some important clues. My mod D have BRW back and sides and a Sitka top, while it seems your Kostal is a mahogany guitar, I find that my Somogyi's low ends are slightly predominant and, even though it is nearly impossible to judge a guitar through internet, yours seems more balanced.
You’re very welcome and congratulations on your new guitar - I hope it brings you many years of joy! My Kostal is The Tree mahogany and German spruce - when it was very new I compared it with a Somogyi in Braz and Sitka and was surprised at the similarities in response and character. But that was 10 years ago now and my guitar has mellowed. Playing a Somogyi guitar is like driving a Lamborghini for the first time. There is a huge amount of power and nuance to explore. Of course, unlike a Lamborghini, a Somogyi guitar is extremely unlikely to spontaneously combust… Enjoy your new guitar and thank you for watching!
@@MichaelWatts Thank you for your reply. If I can ask you a further question, who is the more talented Somogyi aprentices according to your personal taste?
@@pasinomariamocellin6894 just to get through the door of Ervin’s workshop you have to be a very talented individual. Each of the apprentices has their own style and I admire and appreciate their work for different reasons.
That Daniel Hecht video is so far out in a good way. If that was the first MD, I wonder which number Mark O Conner had? The bluegrass kid who played with Griseman and Tony Rice to name a few. I’d read that Ervin S lost everything in a fire and Mark kindly gave him the guitar back?
@@MichaelWatts I would say comparing to a modern luthier built OM since it originally aim to get the balance of OM but more projection which is trend to a dreadnought. Sounds like a MD is opposite approach.
Being only a learner there were so many things I’d not even thought of when I bought my second hand Brook Taw 12 fret? I was very much interested if you were gonna mention the neck and string spacing on your MD? Not being an experienced player I could be wrong but the shallow neck of the Brook and string spacing is maybe why I’m fluffing basic chords. It’s all a learning curve but ve a feeling a deeper rounded neck is something that suits me more.
Everyone’s different and as preferred neck dimensions are a very personal thing. There’s no substitute for experience though so I’d recommend you try as a many as possible to see what works
Seems like my substantive comment didn't take, so here's an approximation to it. This is a superb video, with the centrepiece being the discussion between you and Ervin Somogyi about his collaboration with Daniel Hecht. A great example of communication between two artists at the height of their powers. As to the modified dread, I had never heard this term before, but I'm not sure I'm further forward, as your definition seems to be: a more waisted dread made by Ervin or one of his apprentices. From the outside, this seems so similar to my Martin MC 68, or even my M40 - waisted guitars with the depth of a dread. Obviously, I'm familiar with the Somogyi heel, but not the bracing pattern. Still, your description of the sound is again very like the Martin Ms. Getting back to dreads - repeating myself, please do something on the HD35; it's massively different from the D35 in terms of tone and responsiveness. Clearly, you can't get away from the 1 11/16th fingerboard (which I happen to love), unless you go Martin Custom Shop, but that's still not a great deal of money in the scheme of things guitarwise.
Thank you so much for persevering Robert! There is a lot going on under the hood of the MD from the double sides to the marriage of the super-light monocoque back and soundboard. Each guitar is made on an individual basis so there are no set numbers or dimensions for the bracing other than what brings the best out of that particular piece of wood. The Martin M series, as I understand it was a flat-top version of their C archtops from the 1930s inspired by conversions of the same to flat top guitars. Incidentally it was a Martin C that first inspired Stefan Sobell. It’s wonderful how these branches of the family tree have spread!
@@MichaelWatts I imagined there might be a lot 'under the hood' (and thanks for adding to my vocab - 'monocoque'), but I was thinking about tonal response as much as construction - there are many ways to get to the same place. I do recall from one of your other vids that S Sobell was inspired by the C, but the M range (at least the M 36) was a follow on from a guitar made for the great David Bromberg based on the Martin F series (also an archtop fail), at a time when a fair few NY luthiers were making this conversion. Here's what he has to say about it (yes, I'm a fan!): davidbromberg.net/david-bombergs-instruments-and-gear/ the misprint is in the URL itself! David, I think, played an M38 for a while, but his sig is a blingy M42. Incidentally, I should have said J40 in my original, not M40. Either way, both are big body guitars. the M is coming in at 100mm lower bout depth and the J at 123, so they are both in the D ball park (120), especially the J. Cheers.
I would be interested in learning about more of the design details that go into the construction of the Mod D. I get the impression that it responds more Dynamically than the Martin D35? Would be interesting to learn how he(Somogyi) achieves that. There are many variations in Martin Dreads though. A lightly braced 1937 D28 authentic is going to be more sensitive to the touch than a D35 straight braced dread. I use my 37 D28 conversion for everything but would love to try a Mod D. Also, does it work well with medium gauge strings or do you use lights on it?
There are many different factors at play in the construction of a Somogyi-style instrument. most notably the “air pump” design ethos and the treatment of the instrument as a super light monocoque. I did consider doing a full anatomical investigation but it wouldn’t have worked in this video. Maybe in the future. Thank you so much for watching David!
Great video as alway Micheal - I would be interested in knowing if the unusual nut and bridge design (thicker and hollowed between where the strings sit) really does make a big difference in tone, and might be a recommended option for any high-end guitar? Also a bit of pressure ( :)))) ) - I can't be alone in waiting desperately for your new CD (with Tab!) to come out! Any news? My very best wishes to you - Paul
Thank you for watching Paul! The nut is ornamental but the wider bridge plays a pivotal role in intonation and sound. It works like a Gibson Tune-O-Matic in that regard. Album 2 was on ice for the pandemic but there will be news on that front in the new year. Sincere thanks, it's comments like this that push me to keep going with that record!
If I had the money to commission a guitar of this quality, I would certainly go for this design (having reverted from SJs to a dreadnought after several decades); but as a 12 fretter (not slot-head). Also, I can't understand why anyone other than a record producer wanting a generic acoustic, would seek to diminish the bass response. It's all about the bass - for me at least 🙂
Thank you very much, I’m glad you enjoyed the video! I do indeed use Elixir strings exclusively in either 12-53 or 13-56 gauge depending on how I’m feeling!
Just recently discovered yor channel, and have been enjoying your videos and quality content. That looks and sounds like a quality instrument. I come from a Classical guitar background, but also play acoustic and electric guitar. Regarding guitar design, one of the strengths of a Classical guitar is the bridge location in the middle of the lower bout. Wouldn't that also work better on an acoustic guitar, and simply include a deep cutaway for upper fret access?
Thanks Michael for the educating material on guitar. I have a suggestion, why not increase your viewership by commenting on one of the most talk about acoustic fingerstyle guitarist by the name of Alip Ba Ta. He has a massive followers of over 5 million strong. He start his channel merely 3 years ago and have gain much popularity around the fingerstyle community. The main point here is we as an Alipers (fan base of Alip Ba Ta) needs a professional like you to comment on his plays (both cover n originals) plus his favourite guitar of Cort. Tqvm in advance bro Michael. Surely magic will happen to your sub if you react to this guy.
At the risk of raising your ire, the Martin D28 you played the other day sounded better, IMO. It's like the new Toyotas have all the bells and whistles, but have evolved into something inferior.
Ooooh! Controversy! I love it! To be fair, that Martin was a wonderful guitar and I chose to use it for that reason. It sounded great but it couldn’t do everything that the MD can with the same degree of authority. There’s also the whole rosewood/mahogany thing going on there too… But please, there is no risk of raising my ire Paul, it’s always a pleasure to hear from you and if we all liked the same sound then there’d only be one kind of guitar. That would be a pity…
![เป็นไปได้ไหม - WanMai [Official MV]](http://i.ytimg.com/vi/_6lZ6b3_7Vo/mqdefault.jpg)
Every one of these in-depth videos is amazing, keep them going!
Thank you Stefano, that means a lot to me! I’ll keep making them if you keep watching them!
Yes. If you want to really understand the acoustic guitar, read Ervin Somogyi's book set. His depth of knowledge is truly phenomenal.
That is very true - it was a pleasure and a privilege to play at the launch of these masterpieces in 2009
"You don't have to use it all, all the time." Well said Michael. Another great video!
Thank you very much! Glad you enjoyed it!
One of the best guitar videos I've seen...and that's a lot! Beautiful playing on a magnificent guitar.
Thank you Geoff! That means a great deal to me, I’m glad you enjoyed it!
Nail returns is a technique i'm sure i've seen a lot from wonderful players such as yourself, but never really noticed. I own two acoustics, a wonderful 20 year old d-16 and a brand new 200 dollar yamaha. I find I play the yamaha more, because of the string spacing, much more comfortable for fingerstyle, but the my older martin has a lovely dark tone and feel, very inspiring. I'm going to practice nail returns, much appreciated, as always you have introduced me to many wonderful things and artists, I really appreciate what you do, take care!
Thank you very much for watching and for your kind words!
Wow it’s not just me then? Having recently bought a hand made Brook guitar and immediately sold my Yamaha LS6 I just wished I’d of kept it as the deeper neck and string spacing suited me. Yamaha do make fabulous guitars for the price and of course the hand made ones for the serious players are very highly thought of.
@@andrewbowen6875 I love my Yamaha and would love to play a handmade one. I only recently became familiar with them a year or so ago, and there is just nowhere around my neck of the woods to try a handbuilt yamaha. The spacing and feel on mine is so ridiculously nice for its price, I understand more and more the deep affection people have for their yamahas, cheers!
Thanks,Michael!
My pleasure!
"Balance, Headroom, Space for restraint and control, Dynamic Range and Power"
I totally agree with you. This guitar sounds really good. Maybe this is why I also like the Super Jumbo by the Canadian Marc Beneteau.
I don't get caught up on guitar types. If it feels right, sounds great, captivates you or puts a smile on your face it's a fine guitar.
Great video!
Thank you so much for watching Michael!
You do raise a great point - there is a lot to love with a big guitar and there are subtle and not so subtle sonic differences between the different designs - and yes, if it makes you smile, or weep copiously at the unutterable beauty of the eschatological perfection of each note then the job has been successfully done!
Utterly describes my Martin J40. How strange that the Gibson J200 doesn't have these characteristics. Much more one dimensional in my opinion - although still a great guitar, even if Stefan Grossman described Rev Gary Davis's as sounding 'like a washing machine'!
I thought I ought to add that I look forward to your posts and Ted Woodford's as a centre of calm and importance in my life.
Thank you Robert, I look forward to your comments just as much. I am moved by your response and can only really reply with “Plethora”.
(That means a lot)
Yet another excellent video. Very enjoyable.
Thank you Phil!
Michael, you sure are able to coax incredible tones out of your guitar. I very much enjoy your playing.
Thank you very much Christian! That’s very kind of you.
Cool stuff Michael! I’ve always been curious about this shape.
Thank you so much Lucas! I’m glad you enjoyed it!
Lovely video on the mod D. I'm thinking about my next fingerstyle guitar, and would love to try one of these. Might be time for a trip to the Bay Area
Thank you Anton! It’s always time for a trip to the Bay Area!
That’s going to be fun!
I hope you enjoy it!
Thanks for sharing this well done video, I appreciate what you are doing here! I've been fortunate to play quite a few Modified Dreadnoughts from several different builders including Somogyi. and a bunch of his apprentices. My favorite Mod D I've played was actually made by Tom Doerr. Another fly under the radar instrument that wouldn't normally get classified as such.... I would argue a Goodall Standard is also some what of a Mod D as well. Play one with a European Spruce top or Redwood top and it will very much so impress for finger style playing!!
Thank you for watching Bobby! I like Tom Doerr’s work very much. I’ve only played a few but I’ve been very impressed with the skill and passion that goes into them.
Yes, the Goodall Standard goes into MD sonic territory at some points although it is constructed along different principles
All the while, while you were playing the Martin I was wishing you would pick up a plectrum... and when you did it came alive!! The Kostal sounds amazing in your hands!
Thank you so much Philip!
That Martin is a wonderful guitar - and yes, you could see my response when I took a pick to it! Kostal MD #32 is pretty much part of my arm at this point. It’s been a wonderful 10 years
Michael thank you, I found this video very useful. I have recently bought a Somogyi Mod D. It impressed me more than any other guitar I've played, but I'm still trying to analize and understand this magic guitar. This video gave me some important clues.
My mod D have BRW back and sides and a Sitka top, while it seems your Kostal is a mahogany guitar, I find that my Somogyi's low ends are slightly predominant and, even though it is nearly impossible to judge a guitar through internet, yours seems more balanced.
You’re very welcome and congratulations on your new guitar - I hope it brings you many years of joy!
My Kostal is The Tree mahogany and German spruce - when it was very new I compared it with a Somogyi in Braz and Sitka and was surprised at the similarities in response and character. But that was 10 years ago now and my guitar has mellowed.
Playing a Somogyi guitar is like driving a Lamborghini for the first time. There is a huge amount of power and nuance to explore.
Of course, unlike a Lamborghini, a Somogyi guitar is extremely unlikely to spontaneously combust…
Enjoy your new guitar and thank you for watching!
@@MichaelWatts Thank you for your reply. If I can ask you a further question, who is the more talented Somogyi aprentices according to your personal taste?
@@pasinomariamocellin6894 just to get through the door of Ervin’s workshop you have to be a very talented individual. Each of the apprentices has their own style and I admire and appreciate their work for different reasons.
That Daniel Hecht video is so far out in a good way. If that was the first MD, I wonder which number Mark O Conner had? The bluegrass kid who played with Griseman and Tony Rice to name a few. I’d read that Ervin S lost everything in a fire and Mark kindly gave him the guitar back?
great video thanks
You’re very welcome!
Very good!
Very thank you!
Could I ask about some big differences with an OM guitar?
Yes absolutely - do you mean a trad Martin OM or a modern luthier built OM which often have larger and deeper bodies?
@@MichaelWatts I would say comparing to a modern luthier built OM since it originally aim to get the balance of OM but more projection which is trend to a dreadnought. Sounds like a MD is opposite approach.
Being only a learner there were so many things I’d not even thought of when I bought my second hand Brook Taw 12 fret? I was very much interested if you were gonna mention the neck and string spacing on your MD? Not being an experienced player I could be wrong but the shallow neck of the Brook and string spacing is maybe why I’m fluffing basic chords. It’s all a learning curve but ve a feeling a deeper rounded neck is something that suits me more.
Everyone’s different and as preferred neck dimensions are a very personal thing. There’s no substitute for experience though so I’d recommend you try as a many as possible to see what works
Seems like my substantive comment didn't take, so here's an approximation to it. This is a superb video, with the centrepiece being the discussion between you and Ervin Somogyi about his collaboration with Daniel Hecht. A great example of communication between two artists at the height of their powers. As to the modified dread, I had never heard this term before, but I'm not sure I'm further forward, as your definition seems to be: a more waisted dread made by Ervin or one of his apprentices. From the outside, this seems so similar to my Martin MC 68, or even my M40 - waisted guitars with the depth of a dread. Obviously, I'm familiar with the Somogyi heel, but not the bracing pattern. Still, your description of the sound is again very like the Martin Ms. Getting back to dreads - repeating myself, please do something on the HD35; it's massively different from the D35 in terms of tone and responsiveness. Clearly, you can't get away from the 1 11/16th fingerboard (which I happen to love), unless you go Martin Custom Shop, but that's still not a great deal of money in the scheme of things guitarwise.
Thank you so much for persevering Robert!
There is a lot going on under the hood of the MD from the double sides to the marriage of the super-light monocoque back and soundboard. Each guitar is made on an individual basis so there are no set numbers or dimensions for the bracing other than what brings the best out of that particular piece of wood. The Martin M series, as I understand it was a flat-top version of their C archtops from the 1930s inspired by conversions of the same to flat top guitars. Incidentally it was a Martin C that first inspired Stefan Sobell. It’s wonderful how these branches of the family tree have spread!
@@MichaelWatts I imagined there might be a lot 'under the hood' (and thanks for adding to my vocab - 'monocoque'), but I was thinking about tonal response as much as construction - there are many ways to get to the same place. I do recall from one of your other vids that S Sobell was inspired by the C, but the M range (at least the M 36) was a follow on from a guitar made for the great David Bromberg based on the Martin F series (also an archtop fail), at a time when a fair few NY luthiers were making this conversion. Here's what he has to say about it (yes, I'm a fan!): davidbromberg.net/david-bombergs-instruments-and-gear/ the misprint is in the URL itself!
David, I think, played an M38 for a while, but his sig is a blingy M42. Incidentally, I should have said J40 in my original, not M40. Either way, both are big body guitars. the M is coming in at 100mm lower bout depth and the J at 123, so they are both in the D ball park (120), especially the J. Cheers.
I would be interested in learning about more of the design details that go into the construction of the Mod D. I get the impression that it responds more Dynamically than the Martin D35? Would be interesting to learn how he(Somogyi) achieves that. There are many variations in Martin Dreads though. A lightly braced 1937 D28 authentic is going to be more sensitive to the touch than a D35 straight braced dread. I use my 37 D28 conversion for everything but would love to try a
Mod D. Also, does it work well with medium gauge strings or do you use lights on it?
There are many different factors at play in the construction of a Somogyi-style instrument. most notably the “air pump” design ethos and the treatment of the instrument as a super light monocoque. I did consider doing a full anatomical investigation but it wouldn’t have worked in this video. Maybe in the future.
Thank you so much for watching David!
Keep them coming, best guitar related videos on you tube.
@@davidheenan7432 Thank you very much David, that means a lot to me
Great video as alway Micheal - I would be interested in knowing if the unusual nut and bridge design (thicker and hollowed between where the strings sit) really does make a big difference in tone, and might be a recommended option for any high-end guitar? Also a bit of pressure ( :)))) ) - I can't be alone in waiting desperately for your new CD (with Tab!) to come out! Any news? My very best wishes to you - Paul
Thank you for watching Paul! The nut is ornamental but the wider bridge plays a pivotal role in intonation and sound. It works like a Gibson Tune-O-Matic in that regard. Album 2 was on ice for the pandemic but there will be news on that front in the new year. Sincere thanks, it's comments like this that push me to keep going with that record!
If I had the money to commission a guitar of this quality, I would certainly go for this design (having reverted from SJs to a dreadnought after several decades); but as a 12 fretter (not slot-head). Also, I can't understand why anyone other than a record producer wanting a generic acoustic, would seek to diminish the bass response. It's all about the bass - for me at least 🙂
Absolutely right Ray! Glad you enjoyed the video!
Great video, especially the parts demonstrating the nuances of tone. Do you still use Elixir strings, and, if so, what gauge?
Thank you very much, I’m glad you enjoyed the video! I do indeed use Elixir strings exclusively in either 12-53 or 13-56 gauge depending on how I’m feeling!
Just recently discovered yor channel, and have been enjoying your videos and quality content. That looks and sounds like a quality instrument.
I come from a Classical guitar background, but also play acoustic and electric guitar. Regarding guitar design, one of the strengths of a Classical guitar is the bridge location in the middle of the lower bout. Wouldn't that also work better on an acoustic guitar, and simply include a deep cutaway for upper fret access?
This is why I play 12-fret guitars with cutaways! Or even without…
@@MichaelWatts Yeah, most 14-fret guitar designs move the bridge away from the sweet spot on the lower bout.
Could you tell me please how Jason's modified Dreadnought responds to a pick? Is it just "too much"?
Very good question! I can do better than that, I’ll show you in a video.
I feel like I caused this video 😂
This is a question I get asked at least once a week! But I hope you find this video helpful!
Thanks Michael for the educating material on guitar. I have a suggestion, why not increase your viewership by commenting on one of the most talk about acoustic fingerstyle guitarist by the name of Alip Ba Ta. He has a massive followers of over 5 million strong. He start his channel merely 3 years ago and have gain much popularity around the fingerstyle community. The main point here is we as an Alipers (fan base of Alip Ba Ta) needs a professional like you to comment on his plays (both cover n originals) plus his favourite guitar of Cort.
Tqvm in advance bro Michael. Surely magic will happen to your sub if you react to this guy.
At the risk of raising your ire, the Martin D28 you played the other day sounded better, IMO.
It's like the new Toyotas have all the bells and whistles, but have evolved into something inferior.
Ooooh! Controversy! I love it!
To be fair, that Martin was a wonderful guitar and I chose to use it for that reason. It sounded great but it couldn’t do everything that the MD can with the same degree of authority. There’s also the whole rosewood/mahogany thing going on there too…
But please, there is no risk of raising my ire Paul, it’s always a pleasure to hear from you and if we all liked the same sound then there’d only be one kind of guitar. That would be a pity…