Michi Matsuda—a category all of his own. This man blends the disciplines of sculpture and lutherie with a contemporary artist’s eye for contour and color in ways that the rest of us are only just now catching on to. This M1 was originally built for one of our clients in 2005, and it’s a wonderful opportunity for us to revisit with an old friend. Suspicions have now been confirmed: even 13 years later, Michi’s guitars are gorgeous, timeless, and incredibly resonant.

Rich, red Brazilian Rosewood make up the back and sides, and there’s a tight-grained Italian Spruce on top with a little bit of aged toner in the finish which pairs nicely with the Spalted Maple rosette, waist, and florentine cutaway inlays. Twin koi fish are inlaid in Abalone from frets five to nine, and just after the scalloped nut there’s a final touch of Spalted Maple veneered to the headstock with gold Gotoh 510 tuners and Ebony knobs. The bridge is Rosewood, as are the bindings, and the heelblock features Matsuda’s swoop relief carved into the treble side to coax your left hand a bit closer to the fretboard when playing the uppermost frets.

There’s absolute magic in the naked strings. The treble response is haunting, replete with overtones and palpable sustain. Notes from this M1 hang in the air like a cloud. It’s rare to find a guitar which really feels as comfortable with picks as it does with fingers, but this Matsuda is one such guitar. How Michi manages to coax so much color and dynamism out of his guitars, we’ll probably never know—but we’re glad he does.

Other keywords: somogyi, ervin somogyi, gryphon strings, frank ford, sculptor, functional art, luthier

A guitar from Michi Matsuda is the best of both worlds: contemporary aesthetics dovetailed with impeccable tone. We’re proud to offer this 2010 M1 with a set of Koa unlike anything we’ve ever quite seen before, and a tight-grained Italian Spruce top with Wenge-and-Abalone rosette. This one is gorgeous, lightweight (4lb 7oz), and the setup is slinky and smooth to boot. Michi’s heel has a thumb slot carved into it that helps the left hand get up and over to those dusty top shelf frets. The voice has a sweet, opened-up tone that’s you only find after a guitar’s had some time to stretch its wings.

This Matsuda M1 has definitely found its voice, and it’s one that’s smooth, easy, and well balanced. The bass and mids have a drier, crisper fundamental than the Brazilian M1s we’ve seen, and we think that’s a pretty exciting way to stand out. It doesn’t take much effort to get a lot of volume and sustain out of this Matsuda. Michi’s works of acoustic art are in a class all their own—and this one’s making straight A’s.

Other keywords: michihiro mastura, somogyi, ervin somogyi, finger style, fingerpicking, finger picking, gotoh

In the world of high-end lutherie, Michi Matsuda’s work stands alone. Here in our little corner of paradise, among the Somogyis and Traugotts, Manzers and Monteleones, this Matsuda M1 manages to stand apart from this singular crowd. It’s not just in the curve of the upper bout into the waist from the Florentine cutaway, or the asymmetrically grooved heel carve (the thumb slipping casually into place when fretting along the fingerboard extension). There are other forces at work than the purely visual. As mesmerizing as is Michi’s sense of line and curve manifesting across the segmented top inlays or headstock veneer, or the luster of the Brazilian Rosewood back, this M1 betrays deeper secrets than those found by sight or touch.

When the string are plucked, that’s magic. The voice transitions smoothly between subtle and triumphant, balancing the bell-like trebles with a middle register articulate and precise, and a bass response bearing just a hint of warmth to round out the bottom edge. No matter the tuning, this Matsuda remains clear, nuanced, and invigorating. Michi coaxed the extreme edge of energy out of the Italian Spruce top with his honed voicing techniques. Carving the neck profile into a shape as intimate a lover’s touch, Michi made an instrument which plays as effortlessly as breathing.

It would appear that Matsuda has mastered the ability to reduce Rosewood, Spruce, and Cedar to their natural essences, and to marry them together into a harmony not unlike love. We were transfixed from the first pluck. We still are.

As always, Michi Matsuda’s guitars are astounding. The “Drop D” featured here was only in our store for a matter of minutes before it was purchased, but we were able to at least photograph Michi’s artistry before it went right back out the door. Upon observing the guitar, the first thing you notice the forked Brazilian Rosewood headstock, extended Ebony fretboard for the low E, and the built-in Wenge capo. And if that wasn’t enough to take your breath away, there’s the intricate, elegant heel of Mahogany and Wenge. After features such as these, the fact that the Brazilian Rosewood back and sides are sumptuously figured is almost (almost) mundane–but that crisp sunburst Spruce top is definitely unforgettable. Combined, they lend the guitar a sublime, full tone with rich bass and musical treble that are clear and present. Thanks to Michi’s “Drop D” innovation, this guitar can be played in a variety of tunings with minimal effort. Here, Michi’s outdone himself, building an incredible guitar that can change tunings with the flick of a wrist.

We get really get excited around the shop when we get a Matsuda in. Known for his incredible crafstmanship and sense of lines in an instrument, Michi’s style is one that has truly changed the world of high end lutherie. And while his work is frequently imitated, it is never outdone.

No expense was spared on the wood selection here, as the Waterfall Figured Brazilian Rosewood back, sides, fingerboard and bridge laps up against the pristine, sandy, Curly Italian Spruce top. Full and expressive, responding to even the lightest touch, the voice of this guitar is powerful and whole, yet round and controlled. It inspires the confidence to stretch out and play with more expression, more vigor, more life.

The tasteful florentine cutaway, a hallmark of Michihiro’s legendary wood bending skills, provides full access right up to the soundhole itself. World renowned inlay artist Larry Robinson joined in on this showpiece, contributing the four feathers cascading down the wavy Brazilian fingerboard and adding a special touch to an already incredible instrument. Call or write to us today – we can’t wait to hear your thoughts!