The Lesson Beneath Neck Resetting - Part 2

Getting it right the first time doesn't mean you will get it right again.

Not long after getting my Gibson's neck done I got another opportunity to reset a vintage Martin D-18. It was built in the 60s. Back then, the fingerboard and bridge were made from Brazilian Rosewood. Those were the days, the Golden Era for acoustic guitars; only the best materials were used.

If you are keen to try some vintage guitars, you can find many in Heirlooms Music at Lichfield Road. Click here to view more pictures.

A1965 Martin D-18 available at Heirlooms Music

Taken from: http://static.wixstatic.com/media/4bb691_6ea9ef48112b422cacbbdd3e408d9849.jpg_srz_p_278_408_75_22_0.50_1.20_0.00_jpg_srz

Since I have done neck reset jobs, it was natural for me to use the same steps that work. However, this particular neck reset job has reduced my thoughts to an assumption.

Finally the vintage Martin arrived. The neck angle has indeed altered over years and age has taken its toll on playability. To maintain comfort playability, the saddle has been trimmed gradually until it has very little crown height protrusion over the bridge slot. As shown in the picture below, the saddle was almost flushed with the bridge.

Low Saddle Height

I carried out the same steps without missing a beat until… the neck just wouldn't relent. It remained unmovable despite my attempts to remove it.

These are the "same steps" I have carried out.
1. Removed 15th fret wire
2. Dislodged fingerboard from top
3. Drilled hole into the fingerboard at 15th fret slot
4. Retrofit a tube to a espresso machine to deliver steam
5. Built a jig for neck removal
See series of pictures below.

With step 1 to 5 done, how can anything go wrong? In fact the ordeal has started… in total I made 5 attempts to "steam-the-neck" and I got nowhere. In the process, the neck removal jig gave way, it was unthinkable…  I have repaired and reinforced the neck jig to such strength that it is capable to crush a guitar. See picture below.

Original Neck Jig

Reinforced Neck Jig

I was perplexed and confused by the outcome. It set me on a root cause seeking mode for weeks. Trawled the internet for answers, writing emails to my luthier buddies for advice, desperately modifying jigs and equipment, etc. Finally an advise from Elderly Instruments made the critical difference.

It was step 3 of the "same steps", drilling a hole at the 15th fret slot. Most neck reset tips found on internet mentioned this step. When drilled accurately, it allows steam to be delivered into the dovetail joint thus dislodging the neck from the body. However many sources didn't emphasize accuracy instead they merely mention it as one of the steps.

It was imperative to determine the dovetail joint position on the fingerboard accurately. Using a spatula, I move it under the dislodged fingerboard until it hit the dovetail. That gave me with reasonable accuracy the position of dovetail joint on the fingerboard. I marked the position with a masking tape. In this case, the dovetail joint was close to the 15th fret but not at it. Two holes were drilled to allow entry and exit of steam.

Determining dovetail joint

Taken from: http://farm3.static.flickr.com/2182/2353308000_253961505b.jpg

It took less than 5 minutes to see water exiting at the neck heel whilst steam was flow in and out of both drilled holes. That was the indication that the guitar neck was poised to be removed from its body. The neck removal jig did its job easily and finally.

Neck removed, with glue residue

Cleaned, adjusted, ready for re-gluing

The joint was cleaned up, neck angle was re-adjusted, the required shims were prepared, and the easy part was to glue the guitar neck back to its body.

After the neck has been reset, it was usual to check on fret level with respect to the adjusted neck angle. It wasn't unusual for some frets to buzz. So the fret wires were leveled. This job concluded with a new bone saddle and set up. A new saddle was necessary because the original saddle was too low in its crown height (see picture below).

Personally, it was a damn good lesson learned.

Thanks for reading!

Synthetic Saddles Face-Off!

A Full Black Diamond Saddle

For guitar enthusiasts who emphasize on total tonal quality, this blog post may be the most wanted by them, i.e. the face-off between the synthetic guitar saddles. Much has been written about the deliverables of synthetic guitar saddles. Conversely there aren’t many literatures on comparing and contrasting of these materials. You can take this blog posting as the extension of “Saddle Materials For Guitars Part 2”. Importantly, the objective of this posting is not to subordinate one under another. Instead maximum efforts were made to reflect the full value of the saddles in question. The synthetic materials are in the limelight now. Here goes…

Synthetic is an adjective to Synthesis. It is the reaction and interaction of various chemicals concocted at the suitable and controlled quantity, coupled with the desired conditions to produce something that imitate the properties of organic materials, e.g. synthetic rubber. These are the selected materials to be featured.

1. Plastic

2. TUSQ®

3. Black Diamond™

Here is an overview of the above three materials

A Plastic Acoustic Guitar Saddle

Taken from:  http://www.mojotone.com/Mojotone-Plastic-Compensated-Acoustic-Guitar-Saddle-3-x-1-8-image.jpg

Plastics – taken from: http://en.wikipedia.org/wiki/Plastic; A plastic material is any synthetic or semi-synthetic organic solids that are moldable. Plastics are typically organic polymers of high molecular mass, but they often contain other substances. They are usually synthetic, most commonly derived from petrochemicals, but many are partially natural. In guitar saddle application, plastics satisfy mass production needs like no other materials. Hence it is most common used for producing guitar saddles for many entry to mid levels acoustic guitars.

An Off-White TUSQ® Saddle

Taken from: http://luthierssupplies.com.au/images/TUSQ%209200%20saddle%20Compensated.jpg

TUSQ® - taken from: http://www.graphtech.com/kbase.html?ArticleID=9; TUSQ is a proprietary material which is precision engineered under high pressure and heat. It is specifically formulated to deliver the right frequencies with the optimum transfer rate to the top of your guitar every time. Because of the way TUSQ is made, it is a consistent material that is rich in tone and harmonic content.

By the above literature on TUSQ®, one could not conclude that TUSQ® is petrochemical based or it is a derivative of plastics. Users of TUSQ® have indeed reported enhancements in tonal properties of their acoustic guitars. However certain mechanical properties do exhibit commonalities to plastics.

A Black Diamond™ Hybrid Saddle

Taken from: http://www.obbligatoinc.com/

Black Diamond™ - taken from: http://www.obbligatoinc.com/; This material is a very specialized form of carbon. There are many forms of carbon ranging from graphite to diamond. Black Diamond carbon is not graphite, nor is it a carbon-fiber composite, versions of carbon typically used for musical instruments. It is a highly engineered form of carbon requiring specialized equipment to produce. While, unfortunately, expensive to produce, the random, fine grain structure of Black Diamond carbon provides a very efficient means to create or transmit desired string harmonics of a musical instrument.

According to its patent (http://bit.ly/QJcgjr), Black Diamond™ is the result of pyrolysis of pyrocarbon onto suitable substrates. The application is wider than just guitar saddles. In fact this process is used in manufacturing of human body parts. Pyrolysis is nothing like injection molding.

Since there are many ways to skin a cat, invariably the face-off can be as simple as just making audio clips of each material, allow everyone to listen and judge according to own personal preferences. It can be a full fledge scientific testing. To make it interesting for many people, the face-off should borrow certain scientific experimental principles, but not over-complicating it.

Black Diamond™Hybrid Saddle for Martin Guitars 

Black Diamond™Hybrid Saddle for Emerald Guitars

Here are the experiment norms,

• In this experiment, the test subjects are the Black TUSQ® Saddle and Black Diamond™ Hybrid Saddle. The Black Diamond™ Saddle is made primarily from wood with acoustic properties. 6 insert cavities are cut to accommodate the Black Diamond inserts. The combination of Black Diamond and wood makes it a hybrid.
• Two Emerald Guitars were used in the experiment. The model name is X5-OS, one which is of glossy amber finish and the other is matt black. The amber one is fitted with new strings whereas the matt black has dead strings on it.
• A total of 5 audio tracks were recorded and uploaded to SoundCloud, which is sound file sharing website.
• Reference recordings were done on two Emerald Guitars, X5-OS with original factory settings, i.e. with black TUSQ saddle. The file names are X5-OS Amber.mp3 and X5-OS Black.mp3 respectively.
• The reference recording consists of the chords progression from the C major key instead of playing a tune. This chord progression is C | Dm | Em | F | G | Am | C. The chords are played at various position of the neck.
• Another recording done with switching one of the Emerald Guitars’ TUSQ saddle to the Hybrid Black Diamond Saddle. The file name is X5-OS Black Dia.mp3.
• Another two recordings done with playing the same original acoustic fingerstyle tune on both X5-OS for comparison. The file names are X5-OS Amber Hpy.mp3 and X5-OS Black Dia Hpy.mp3 respectively.
• Direct recording using ZOOM Q3, high quality WAV file format, unplugged.
• All WAV files are converted through MP3 Encoder, set at 192kbps conversion rate, thus keeping the file size manageable for uploading to SoundCloud

The Guitars and Saddle Set up,

Top Matt Black, Bottom Glossy Amber

Fitted with Black Diamond™Hybrid Saddle

The sound files,

Reference Recording, Emerald X5-OS, TUSQ® Saddle, Glossy Amber Finished, New Strings


Reference Recording, Emerald X5-OS, TUSQ® Saddle, Matt Black Finished, Dead Strings


Emerald X5-OS, Black Diamond™Hybrid Saddle, Matt Black Finished, Dead Strings


Emerald X5-OS, TUSQ® Saddle, Glossy Amber Finished, New Strings


Emerald X5-OS, Black Diamond™Hybrid Saddle, Matt Black Finished, Dead Strings
End of sound files section

My two cents,

Firstly I will discuss the comparison between both X5-OS guitars with original factory setting, fitted with black TUSQ Saddle, one with new strings and the other with dead ones. Listening to the audio clips, it was clear the one with new strings produce clearer treble notes, the ring is crisp and very audible. As the low ends, it gave rounded bass. The one with dead strings didn’t provide as clear and crisp treble notes. Not withstanding the reduction on clarity, the full range of tone was audible nevertheless. This is indicative of the capability of the TUSQ saddles. As for the bass characteristic, it wasn’t much different from the one with new strings. The conclusion was guitar strings’ conditions will affect the resulting tonal qualities. In this case, the differences were noticeable.

The Wave Patterns captured from Garage Band

I shall now discuss the comparison between X5-OS with dead strings, it audio recording with original TUSQ saddle and switching to the Black Diamond Hybrid Saddle. Listening to sound file X5-OS Black Dia.mp3, i.e. the saddle was switched from TUSQ to Black Diamond Hybrid, the immediate difference was the treble notes. They were clearer and crisper, closer to the X5-Os with new strings. The bass notes were tighter as well. By using the frequency analyzer from Garage Band Software, I noticed the wave patterns of produce by the Black Diamond Hybrid Saddle possessed evident stability whereas the wave patterns of the X5-OS with original factory settings were shifty.

The differences between X5-OS Amber Hpy.mp3 and X5-OS Black Dia Hpy.mp3; this is probably the acid test for the Black Diamond Hybrid because a full tune is being played and recorded for comparison. I find both guitars gave quality tone. Considering the amber gloss one was fitted with new strings, the Black Diamond Hybrid Saddle truly resurrected the dead strings from the grave. The crispness are comparable and I find the bass notes of the “dead strings” X5-OS became tighter with the switch of saddle. It was indeed a pleasant surprise.

Well, these are my two cents and it is your turn to be the judge!

Some tips for listening,

• Focus on one spectrum at a time, e.g. concentrate on the bass notes, block out the rest mentally.
• Repeat small parts of the audio track, do rapid comparisons between the intended audio tracks.
• If possible, use quality heard sets instead of judging by listening through the onboard PC speakers.
• A quiet environment helps.
• There is no good or bad sound, they are all sound.
• Judge base on known criteria like Bass, Mids and Trebles. Connecting the audio quality to abstract terms like majestic, shimmering, etc. will probably add more confusion. Use simple terms instead.

Thanks for reading! Any comment is welcome.

Saddle Materials for Guitars Part 1

Much hype and myth have surrounded the effects of saddle materials that will transform your guitar from a caterpillar to a butterfly in aspect of tonal quality. Will it?

Taken from: http://www.amnh.org/our-research/science-news2/2008/its-out-of-america/

There are numerous literatures written about saddle materials for guitar and I have benefitted a great deal from reading them online. Great job to those dedicated writers. Since 2009, Guitaring Passionately has been serving the Singapore's guitar community and I must say guitar saddle replacement jobs are the most sought for. Surely I have those writers to thank for this surge in this demand. It is timely to share the accumulated experiences in working with various saddle materials for guitars to benefit the community.

Most of the available literatures are written from reviews of saddle materials or functional aspects point of views. However I was more curious about the acoustic properties of saddle materials because I believed by learning it, I will arrive a step closer in uncovering the myths surrounding these saddle materials in relation to tonal properties for guitars.

A Bovid Horn

Before the technical stuffs get elaborated, anyone who is pursuing for the ultimate tone should bear in mind that tone is an extension of sound, which is resulted from vibration of particles. The vibration is being transmitted among adjacent particles through various mediums until our ears detect this vibration energy. The detection of energy is processed in our brains as sound, a.k.a. tone. If you find the long sentence incomprehensible, you're pretty right about it. By noting the number of transfers that have taken place before our brains get to interpret the vibration energy, it is hard pressed to convince ourselves that we are in fact hearing the real thing.

Tone is likened to appreciation of wine. At the fundamental level, tone is nothing more than vibration energy. As tone is not visible to our naked eyes, we have to describe what we hear and feel by the use of words. At best the words used in describing tone are metaphors. Another critical filter that affects the outcome of any described tone is personal preferences. To sum it up, there is nothing accurate in tone description, except subjectivity, preferences and influences. However guitar lovers do enjoy conversations regarding tone as if they are sipping wine. The point is not about accuracy but appreciation. Humans are amazingly foolish sometime, aren't we?

Tone is likened to wine appreciation

Taken from: http://www.delawareonline.com/blogs/secondhelpings/uploaded_images/redwinegl-747735.JPG

Since tonal quality is that subjective and personal, does it mean that nobody will like a tone liked by another? Not quite … while each person is unique, there are similarities as well. Even when applying to personal preferences. Certain things are more popular among people while some are not. Take for example shapes and forms. I think it is easy to conclude that most people like the flowing curve lines on car bodies. It should be pretty hard to market a personal car that looks exactly like a box, right? Volvo has certainly got enlightened over the years. However, commercial vehicles do take on another mental model all together, i.e. functional above aesthetics.

Box

Curves

Taken from: http://theoldmotor.com/wp-content/uploads/2011/03/Box-Car.jpg

Taken from: http://www.myhybridcars.net/wp-content/uploads/2011/11/BMW-i8-Hybrid-Concept.jpg

Likewise for tone, certain types are more popular. The question is, which is most popular? Since each saddle material produces its unique tone, we can apply a pragmatic standpoint, i.e. judging by the material that is most sought after and utilized, perhaps the tone produce by this particular saddle material can hold the torch to become the best in tone saddle material.

What about expensive saddle materials? Scarcity and availability are two major factors in determining the prices of certain saddle materials. Strange but true, the study of consumers' psychology has long proven that buyers are likely to tag quality to high price points. Among the available saddle materials, ivories topped the price points due to their scarcities. Mammoth Ivories are harvested in Siberian Tundra by digging into the earth. The sub-zero temperatures are adequate as deterrents. Elephant ivories are on the CITES list as a controlled item. Only the pre-ban stocks are traded domestically and all forms of international trades are prohibited. Due to these reasons, it isn't hard to hear guitar owners singing praises about ivory guitar saddles. This doesn't imply that ivories make inferior saddle materials rather I wish to illuminate scarcity and price points as factors that influence our perceive value of various saddle materials.

Mammoth Remains Excavation

Taken from: http://n0t.nu/site/wp-content/uploads/2010/09/MammothTusk_1725363c.jpg

A distant relative to ivories, animal bones are abundance, easily available and economical yet they make quality saddle materials. Many luthiers have used animal bones for nuts and saddles for decades. This general acceptance is indicative of bones' intrinsic qualities as well.

Cow Bones as costume jewelry

Taken from: http://f00.inventorspot.com/images/bone1.img_assist_custom.jpg

Another important aspect is the appearance. TUSQ and bleached bone saddles are whiter than snow. They look clean and pure to users. Fossilized ivories and unbleached bones are characterized by natural malted streaks, grains, and discolorations. One can perceive these visible attributes as natural beauty or downright imperfections. At worse, some people considered such natural aesthetics as uncleaned or dirty. After all, steak must looks good before they taste good. Invariably, appearance is subjective. On top of that, aesthetic values cannot be ignored. The saddle is a highly visible part on the guitar and alignment to the over appearance does has it place. With a myriad of determinant factors, the measure of best tone is ever more elusive.

Bone Nut & Saddle with natural color

FMI Nut

In summing up, the best saddle material that will deliver the best tone may very well be a mirage that can never be arrived. However, it may make more sense to conclude that audible differences can be obtained with a change of saddle materials on the same guitar. If one is able to detect the changes and the outcome is a satisfied one, the effort is worthwhile then.

My personal two cents; be opened to try new but don't forsake the roots. Ask yourself if you truly like what you hear … not just hear with your ears but with your heart. That is by far the most authentic evaluation to thyself.

In part 2, I will elaborate the differences of various saddle materials from the perspective of acoustic properties. Stay tuned!

Singapore Guitar Show Dec 2011

It was backed … two days at Suntec City, a display of various brands of handcrafted guitars, both local and overseas, to the local guitar community; it is the Singapore Guitar Show 2011 (http://www.singaporeguitarshow.com/current-edition-2011/press-release-2011/).

Day One of the Singapore Guitar Show

Tien Chor who volunteered to help

Playing guitar can be seen as a life long learning journey because nobody can claim full mastery. In this journey, we learn abundantly from any available knowledge sources that bombard us. We picked up both facts and myths as we learn more about guitars. With the internet, we can learn almost anything we can conceive of. While the information is easily accessible, the downside is the authenticity of it. Regardless if it is conscious effort or not, we learned from these many sources. Internally, we exercise personal evaluation on the information obtained or granted, and draw conclusions. By this process, we grow in wisdom and discernment. Did we? I had numerous interactions with the people at the show. Interestingly, it has prompted these thoughts; in any given learning settings, the absence of truth is quickly filled with assumptions. The assumptions solidified over time and when left unverified, they turned into pseudo facts … reversing these pseudo fact has proven to be difficult.

This observation was most interesting to me in the show. I think everyone has experienced it before. However, only some grew out of it. What might interest you at guitar shows?

In this posting, I try to do away with introducing every guitar maker, as it may be repetitive to do so. Instead lets’ discuss the interesting perspectives gathered from the people who turned up for this show. Anyway, I helped Terence Tan in organizing the show this year whereas I was an exhibitor in 2010.

These are the perspectives I have gathered ...

Heavy guitars, what about them? It was a common myth surrounding heavyweight guitars. It appeared that lightweight guitars were assumed to be good sounding guitars. While some guitar makers have consciously tried to reduce the weight of guitars, it wasn’t directly linked to tonal properties. Without a doubt, lightweight guitars were easier to handle. However to conclude that heavyweight guitars were less superior than the light ones were clear evidence of one’s failure to understand the principles of guitar construction. Invariably, to think that lightweight guitars will automatically produce good tone is all but truth. The great number of such claims I heard from the show participants didn’t surprise me.

Anyone who handles a Caldersmith guitar (http://www.caldersmithguitars.com/) will immediately feel the weight of the guitar. It was comparable to the weight of a regular electric guitar. If one stuck to the myth, such guitars will be disqualified before they have any chances of showcasing their potential. The weighty feel of Caldersmith guitars were indeed unusual because most classical guitars are lightly built. For centuries, many luthiers learned from one generation to the next. I suspect the notion of building lightweight classical guitars was linked to the perceived social value of classical music. Caldersmith Guitars produces such lovely tone that resembles birds’ singing. The classical guitars were not only well made; their loudness was surely amazing. The saddle was sloped which unliked the regular classical guitars where the saddles were flat straight. A Caldersmith feels nothing like a classical guitar until you pluck the first note. When that note travels to one’s ear, the thick, mellow yet defined tone will immediately eliminate all doubts.

Caldersmith Guitars

The lovely ladies behind Caldersmith Guitars and I

Jeffrey Yong’s guitars (http://www.jeffreyyong.com/luthier.html) are heavily built because his design principles of the soundbox were base on loudspeakers’ cabinet design. Well designed and built speakers were usually heavy in weight except for the new age designs type, e.g. Bose’s jewel cube speakers. Suffice to say that hi-fi enthusiasts will go for heavy speakers when given the options. In 2006, Jeffrey built a Monkeypod wood guitar and participated in a blind-listening guitar contest at the Guild of American Luthiers Convention 2006. It was heavy and unlike the conventionally built acoustic guitars. His entry has beaten all other guitars to emerge as the winning guitar. Since then, Jeff’s guitars have established their identity. By this measure, weight of the guitar was certainly not a determinant factor to quality as assumed by many.

Jeff and Rod

Jeff's collection

Steve and Jeff, both are happy men

Good materials make good guitars. Learning this notion was very common during the junior phase of playing and learning guitars. There were abundance literatures written about suitable woods for guitar building in the internet. However the commonly featured woods come from temperate regions and certain endangered species. As scarcity sets in, also due to excessive commercialization, it drives the prices of such materials upwards. As a result, the market prices of guitars made from certain rare or restricted woods increased tremendously. It is 101 consumer psychology; an exorbitantly priced guitar can’t be a bad one. There was another subjective factor that influenced the way we perceived the quality of a given guitar regardless of price, built and tonal properties, i.e. our personal preference. While this may cast doubt in every guitar’s worth but the assumption of good materials equal good guitars were overwhelmingly pervasive among guitar lovers. Therefore it was almost an instant agreement among guitar lovers to related good sounding guitars to good materials used. The presence of many guitars in the show have helped to debunk this myth.

Unshakable Perceptions; an ostrich that has its head buried thinks it is safe. Nothing can be further than the truth. The influence of literature was strong enough to convince many luthiers that instruments building woods were limited to a few species. Some have totally ruled out any woods not found in the commercial suppliers’ catalogues. Won’t we hear similar guitar tones regardless who builds the instrument as a result of such fixations? Some guitar makers will never use certain type of woods because they simple don’t believe in them … or such luthiers don’t believe in himself or herself? Guitar construction principles include selection of wood but it was not the prime principles of consideration. Instead attaining the mastery of the art and science in controlling the stiffness of the sounbox have greater significance than the frantic pursuit for the rarest wood on this planet. Before Jeff won the blind-listening guitar contest, nobody has heard of Monkeypod wood and much less to use it for guitar making. In fact many luthiers have explicitly undermined Jeff’s practices in using tropical woods. It table has turned after 2006.

Pushing the Boundaries. Classical guitars making was always guided by traditions. Any deviations from the advocated ways were strongly discouraged. However creativity is alive and it wants to change things. I met Rod Capper (http://www.capperguitars.com/) in this show. A great guy and he builds classical guitar. Immediately I noticed the elevated fingerboard in his guitar design. He shapes a piece of wood into a wedge and glued it between the neck and the fingerboard thus elevating the fingerboard (see picture). It improves playability by leap and bounce, noticeable sustain was achieved as well. However this feature was all but traditional … but his passion for building better guitars has overwhelmed the shackles of tradition.

Rod Capper and I

The elevated fingerboard design

A Rod Capper Classical Guitar

A Rod Capper Classical Guitar

In my best effort to illustrate the guitar show through this posting, I may miss certain exhibitors. Please accept my sincere apology in advance. Maestro Guitars has again showed their presence in the show. The guitars they have showcased were quality stuffs. The look, feel and tone of Maestro Guitars have surely progressed tremendously over the years. Worthy Guitars from Australia participated in the show for the first time. The man behind Worthy Guitars is David. A great guy to exchange ideas with and his guitars were very well built with great details and refinement. Another Australia guitar maker Scott Wise was also here for the first time. He has Ukeleles on display as well. Three handcrafted guitars brands came from Indonesia. They are Secco, Suwig and Prim’s Guitars. It was indeed the show’s honor to have their participation. Parekh Exports brought for the show a selection of instrument building woods. Not forgetting the local retailers that have faithfully supported the show, they are Tomas Music, MusicArk and Awe-In-One guitar picks. The show wouldn't been possible if not for the passionate support from Altas's team (http://www.atlasexperience.com/bose.htm) who has provided the wonder BOSE sound system for the performance segments. Thanks to Bobby, Wee How and Sean, they are wonderful to collaborate with.

This show has allowed me to meet new friends who are liked minded. I must say it was very rewarding for me personally. During the show, I have shared an invention of mine regarding dehumidifying of guitars. The responses were very encouraging. I received not only their attention, they freely gave their thoughts, suggestions and ideas in helping to augment the invention. I now look forward to the next show and also the progress of my invention.

Here’re more pictures

MusicArk ... Lance is setting up

David, the man behing Worthy Guitars

Suwig Guitar, Indonesia

Secco Guitar, Indonesia

Prim's Guitars, Indonesia

Maestro Guitars ... surely from Singapore

Tomas Music

An overseas performer

David and I

Thanks for reading!