Yamaha DG 80 210 Guitar Amp

In 1998, Yamaha introduced the DG Series of guitar amps. In just over two years, the brand has made a strong entry into the "digital modeling" amp market with several models. The DG series is comprised of the DG100-212 (100 watts and two 12-inch speakers), DG80-210 (80 watts and 2 10-inch speakers), DG80-112 (80 watts and two 12-inch speakers in individual enclosures), and DG130-H (130 watts and 4 12" speakers).

Features

I reviewed the DG80-210, which has two Celestion Vintage 30 10-inch speakers. The amp has a nice modern look with a red panel, yet still retains a vintage look overall. The control panel includes trim, output, master level, gain, three tone controls, presence and reverb controls. When the presets are recalled, the ten motorized knobs actually move to the settings. Each preset can be recalled via the Recall button or an optional MIDI controller.

The amp section has 8 switches: Lead 1 and 2, Drive 1 and 2, Crunch 1 and 2, and Clean 1 and 2. These individually call up the various amp types. There are three warm-sounding reverbs (spring, hall and plate), and three effects types (tremolo, chorus and tape echo). The mode function allows you to adjust the parameters for whatever amp you are using in the preset. It also lets you adjust the many effect parameters such as tremolo speed, chorus level, and tape echo time.

The memory recall switch will zap you to any of the 128 presets where you can adjust the functions to your liking and then store your new sound. An optional MIDI controller can also be configured to change the presets, volumes and effects. The rear panel speaker simulator outputs a "voiced" sound to the line outputs for playing direct into a mixing board.

For those who simply must collect all four in the DG series, you can swap sounds via MIDI from one amp to another. There are two inputs (high and low impedance) and an effects send/return with balance control. The DG also has an extension speaker output so you can stack 'em high with optional speaker cabinets.

In Use

When I delved into the DG 80-210, I faced a bit of a learning curve-I spent a lot of time going through all of the 128 very useful presets. However, the effort was worth it. The sounds are amazing!

The overdrive, distortion and lead sounds are exceptional. Yamaha steers clear of the dreaded electric shaver distortion that I have heard from other amps. It is warm when needed, and cuts through with just the right amount of distortion for soloing.

The tremolo presets were terrific. The design committee who developed these combinations of tremolo, reverb and distortions should be applauded for sounds that aren't over the top. Also, when I switched between presets, the volumes were relatively equal, unlike other guitar boxes I've used.

This amp gave me such luscious reverbs that I had no fear printing them to tape. I plugged in my Strat, propped up a Shure SM57, patched in a Urei LA-4 and started recording. When it came to mixing, I didn't regret my decision. The recorded guitar and ambience sounded unified and organic-not like a guitar track with board effects added.

Summary

This amp is as close to a warm and full tube amp sound as I have heard from digital modeling processors. The DG80's versatility and sound quality is easily worth the $1,299 list price. And in this cut and paste world, anything that is going to save me from wrestling with stomp boxes, cords and wall warts is a Godsend. I'm starting to think that the days are numbered for my trusty Twin Reverb and Rat distortion pedal.

Yamaha LLX-500C Acoustic/Electric Guitar

The Yamaha LLX-500C acoustic/electric cutaway guitar, is a gem of an acoustic/electric guitar and should be looked at seriously by any performer looking at guitars in its $2,399 or higher price range.

Features

The Yamaha LLX-500C is hand built in Yamaha's Japan "custom shop" factory. Its features include a solid spruce top, mahogany neck, and solid rosewood back and sides. The 20-fret finger board is ebony with delicate mother-of-pearl snowflake inlays at the usually marked frets.

Yamaha LLX-500C Acoustic/Electric Guitar

The headstock and neck of the guitar are attractively trimmed in ivoroid binding, and the Yamaha name on the headstock is mother-of-pearl inlay. There is an abalone inlay trim ring around the sound hole, and the body of the guitar has a gloss finish. The pleasingly "thin" neck has a matte finish.

Unlike many acoustic electric, the Yamaha LLX500C's sides are solid instead of laminated. Yamaha installs a laminated wood brace around the built-in preamp to keep the solid area strong enough to withstand structural side pressure, but the rest of the side wood is solid.

With a 25.6-inch scale, the Yamaha LLX-500C is standard dreadnaught sized, except for the cutaway, that permits easy chording up to the 14th fret. The guitar has gold-plated, Yamaha tuning machines that are silky smooth and easy to wind. The ebony bridge contains a standard plastic saddle.

Underneath the saddle is a piezo pickup that is wired to a powered, System 45 mic preamp/equalizer module on the upper "shoulder" of the guitar. In addition to the piezo pickup, there is a mini-gooseneck mounted electret mic placed in the soundhole. The gooseneck is attached to the preamp/equalizer module.

The two microphones can be blended or placed out-of-phase (to eliminate feedback perhaps), giving a substantial amount of range adjustment. For even more sound contouring, the gooseneck mic can be easily repositioned, even with the strings on the guitar. The battery has its own side-mounted compartment, separate from the preamp/equalizer module.

Inside, the construction was of high quality, but there were some sloppy glue spots. Another demerit was given for the half-inch gap between the spruce back-stiffening material and the block at the base of the guitar. The kerfing material is mahogany.

The strap button at the base of the LLX-500C doubles as the jack for the 1/4-inch instrument cord. There was no other strap button, so I tied a strap to the head by the nut.

The guitar has a thin, clear plastic pickguard, which is a design that I like. Light gauge strings were supplied with the guitar. The LLX-500C comes with a limited lifetime warranty. A case was not supplied with this review unit.

The Audition

The acoustic sound of the Yamaha LLX-500C was well balanced ù crisp and defined at the high end and rich bass that projected well. Using the strap or balanced on my knee, the guitar felt comfortable and natural to hold

The acoustic sound of the LLX-500C, at least with the strings supplied with the guitar, worked best for strumming, flat-picking and lead playing. It was a bit too dull for finger picking for my taste, but this might easily be cured with a brighter set of strings.

Plugged in to a good sound system, the LLX-500C can be adjusted for any type of sound. It was easy to get crisp sound while finger picking, and the range of adjustment for the electric pickups is excellent. I preferred to mix both the piezo and gooseneck mics, and then reduce the high-end sizzle of the piezo pickup with the on-board equalizer. The dual mics offer countless sound combination possibilities.

The action on the guitar I reviewed was excellent. I could strum the guitar hard and finger chords at any point on the neck without buzzing.
Summary

The Yamaha LLX-500C is a high-quality, solid wood acoustic/electric with easy playability and a full, balanced sound. The flexible preamp/equalizer module makes shaping the sound and notching out feedback easy.

If you are an active stage performer, the LLX-500C is an acoustic-electric that should not be overlooked -- even compared to more expensive models. It can deliver the beauty, richness and soul of a quality acoustic as well as a good plugged-in sound.

Yamaha FG-502M Acoustic Guitar

Mahogany guitars have made a come back in recent years. Back in the early part of the 20th century, Martin's mahogany acoustics were very popular — especially in the smaller sizes. But the spruce-topped dreadnought acoustics took off in the 1930s and 1940s because of their ability to fill bigger live environments louder volume.

Still, mahogany has always had that player/singer/songwriter warmth that is great for just sitting around and playing. Today, solid mahogany models are available from a variety of companies including Carvin, Martin, Taylor and now Yamaha with its $799 FG502M.

Features

The $799 FG-502M's neck, top, back and sides are constructed from solid mahogany. The 20-fret fingerboard is specified as rosewood, but is darker looking — more like ebony.

With a 25.6-inch scale, the Yamaha FG-502M is standard dreadnought sized. The guitar has chrome tuning machines that are enclosed but have the old fashioned large style keys of yesteryear. The plain rosewood bridge with plastic saddle uses the standard plastic pins to hold in the strings.

The guitar is almost austere in its lack of embellishments. The FG-502M has a matte finish (no high gloss here) and, beyond simple fretboard dot markers, there is nothing fancy about its appearance.

The "Yamaha" name, the decoration on the head stock and the trim rings around the sound hole are all decals that do not attract much attention. The binding around the body is plain black plastic with a bit of subtle detailing where it meets the top. The plastic pickguard on the FG-502M is a tasteful tortoise shell design.

The wood quality used in the FG-502M is first rate, with grain that is straight and clean. Interestingly, this Yamaha guitar uses spruce kerfing to attach the sides to the back and top; most guitars use cedar kerfing.

On my test sample, construction tidiness was a bit off for Yamaha's usually impeccable Taiwan factory work.There were small gaps in the kerfing at either side of the tail block, and some glue was visible all along the kerfing. Also, the FG-502M that I reviewed arrived missing a screw from one of its tuners.

The FG-502M is sold in stores with the case extra ($129). The guitar comes with a limited lifetime warranty.

The Audition

In my experience, Yamaha's under $800 spruce top/rosewood body and spruce top/mahogany body Yamaha guitars have a crisp, mid-rangy sound, with some high bass, that is pleasant enough

With its solid mahogany construction, the FG-502M has some crispness and definition, but with added warmness on the bottom. The mid bass is more pronounced, giving it that warm, cozy strumming sound. The no-frills, matte finish allows, I believe, the body to resonate more than heavy gloss finishes of may of todays lower priced acoustics. And the Yamaha certainly has a nice resonance that many under $1,000 guitars don't have.

The FG-502M was good for just about any type of playing that I threw at it. I went from finger picking to strumming, and this guitar maintained its definition, but with the pronounced warm bass. With medium and heavy picks, hard strumming gets you a more compressed sound. This is definitely more of a singer/player guitar for small spaces. It does not articulates as clean when strummed hard.

The guitar's action was low without buzz and the neck felt comfortable. Intonation was dead on through the 12th fret. The guitar, as with most Yamahas I have played, always stayed in tune.

The clean, warm quality of the FG-502M’s sound also came across in recording. I used a dynamic cardioid mic pointed about four inches up the neck from the sound hole and recorded the distinctive sound of this guitar.

Because of the more pronounced mid bass, those who use thicker picks and heavier strings will probably have to roll off the bass to get a clean strummed sound. It is much crisper when using thin picks and phosphor bronze light or extra light strings.