Maton ECW80C

It took me a while to bond with my new Maton ECW80C basically because it had the wrong strings for my style of music, bright Elixir Phosphorous Bronze. Luckily with some great advice from Jim Flood of www.newstrings.co.uk, I switched over to D'Addario EJ40 strings which are much better for the folk finger picking style I do. The change in scenario and sound was amazing. The first month therefore was a nightmare, the guitar just didn't sound right to me, it had too loud and bright a sound. Now I can't stop playing it and with these strings it sounds good either plugged or unplugged.
The satin finish is rather delicate and the maple in the back is even more delicate. Got to watch out not to wear any belts or the notches remain imprinted in the back of the maple. I tried many acoustic guitars in the shop, but the sound this Maton produces is simply amazing, it can be anything you want it to be from rock, to folk to soft to hard, to sweet to sour and anything in between. I am not too keen on the AP5 pick up system as I find it is good but a bit limited. I keep the bass all up the treble mid way and the mids all the way down for the treble and all the way up for the bass. I have also added a boehringer condenser mike for more warmth in sound
which I feel this pick up does not offer. It has no built in tuner which is a bummer. I like the look and feel of the guitar, it is light and is cutaway which makes it real chic on stage and easy to handle and hold. The frets sound real good all the way up. The case is so sturdy you could chuck it down from a plane and the guitar would not get hurt. The nice thing about it too is that it has been thorougly tested before being shipped and has all the quality control signatures inside. I never thought I would settle for an Australian guitar, but this is THE acoustic guitar and the top of the range for this price range. I paid 1800 euros for it. Other guitars in this price range, without mentioning names, had a horrible sound and feel at least to my ears and hands.

This guitar is magnificent, it suits any music style. However I suggest you find the right strings for your style. This Maton can fit any string even a lower gauge say 11-47 instead of 12-54 and I guarantee the action is lowered and there is absolutely no buzz...making it much easier to play. Now that I have the D'addario EJ40 on it I would not switch to anything else not even to the Martin SP strings the Maton makers suggested.

The only no no about the guitar are the notches to pull the strings out and put them back in. Well the E notch was hard to pull out and does not fit properly back in place after replacing string. I had a really rough time pulling it out and putting it back in. Other than that, the action was too high for my liking, but after changing the strings it was lowered to my liking. The bridge is perfect. The turtoise inlay was a bit scratched and shiny. I really like the feel of the neck, it is perfect for playing any style of music. I had tried the Martin BC-16GTE and found the neck to be slippery and uncomfortable.

The strap buttons are very solid. I put my fender strap on and off and they keep in place. The mechanism seems precise enough. I hope the guitar will withstand all the trips it is going to be put through: Europe, Australia, USA and gigs...it looks pretty delicate to me with that satin finish. I bumped it already a few times and apart from the belt notches in the back, no other nasty bumps for the time being. It must be cleaned every day with a soft damp cloth as the light satin finish tends to dirty. Make sure it is also wiped thorougly dry as it could easily stain.

Customer support in Australia is like a fairy tale. You ask questions they reply in a jiffy. Any problem whatsoever, they solve it. So I suggest contacting Australia directly for any issues. They are terrific.

I have been playing this guitar 3 hours a day for two months. I also have a classical guitar, but after trying the Maton I chucked it in the bin. Thanks to the sound it produces my voice has consequently improved by 100%. If my Maton were lost or stolen I would buy the same model without any hesitation.
The first month I hated it as I could not get the sound I wanted out of it. Now that we finally bonded I simply love it and can do anything on it from folk to pop to rock to alternative either plugged or unplugged.

i own a spectacular ECW80C. This is true: my ex wife once threw it (in its case) over a second story balcony onto concrete and into a cafe full of unsuspecting folk having their sunday morning breakfast. it was still in tune when i was forced to finally retrieve it. and then on a particularly unfortunate afternoon she broke two of my ribs with it in a single over the shoulder blow that pretty well knocked me out. so i figure if anyone had any questions about durability look no further. i am living testimony that even an insane and psychotic cheating * wife cannot break this thing. it still sounds beautiful. (did i mention hoar?) rock solid indeed.

The guitar is an electric accoustic cutaway. The ECW80 range is Maton's entry level non-laminate guitar. There are cheaper non laminates on the market, but the beuty and tone sold me.

Maton use mainly Australian indigenous timbers, except for the rosewood fingerboard and North American Spruce top. Mine has a Bunya top (Ausie indiginous conifer - Araucaria Bidwillii) which gives a nice solid tone and a big dynamic range. Slightly darker than the spruce: lovely grain as well. The back, sides and neck are Queensland Maple (Flindersia brayleyana - a eucalypt)

It has a satin finish, with an amber finish on the sides, back and neck. It has ivory binding, making the guitar look like a giant honey flavoured lolly - a real furniture piece in itself.

Tuners are chrome Grover Rovermatic. The factory strings are Elixer

Pickup is an AP5, with simple volume and EQ featuring a midrange EQ boost.

Manufactured 2006.

The sound is so rich! I'm a Strat player and this is my first decent accoustic, but in the info gathering phase I played Martins, Taylors, Ayres, Takamini's and Cole Clarkes. The Maton has it over the rest with a beautiful, rich tone that lends perfectly to thoughtful ballads, yet loses nothing in brightness. The sound is unique, with a real rich bottom end tone that grabs and holds on. and at it's best playing open chords, especially the low Em, G etc. Jazz chords sould great too, although major barre chords fall short. Then again I shouldn't be slipping into Judas Priest riffs either!

I use this guitar in 3 ways. 1) Live in a church band, 2) in my home studio and 3) mucking around. The live sound is crisp and clean, and the richness loses nothing through a PA. Moreover, there is no clash with piano, brass or strings - the sounds just fits in. For recording, I plug straight in, with no extra eq needed, and the brightness and tonal qualities are evident. It's far easier to record with than the Strats in that way. I haven't recorded with a mic yet, but probably don't really need to because the transfer of the accoustic qualities, including the rythm of the pick, is very faithful.

The dynamics are superb. The quality is there wether I play soft or hard. The dynamic range is incredible, with the same integrity evident from barely audible stuff to the belted out stuff.

The only drawback is when I'm finger picking, but that's probably my personal shortcoming, as I've only picked on classical gitars.

Open tunings are beautiful

The action feels a bit high-ish in comparison to the Taylors and Cole Clarkes, although the actual height is exactly the same as the Coles. I found it slightly harder to play than the Cole Clarke, but remember I'm a Strat player, so I have to allow for accoustic being different. With time I have gotten used to that.

That aside, I'm happy with the setup. The guitar is built for it's superb tone - so what if I can't play Van Halen on it.

The only flaw was a slight mark on the top, but it was sprobably a shop mark - I bought it off the shelf after a few months

The guitar is very solid. Maton have been making these since the late 60's as a durable instrument that will handle a tour. Our country roads can get rough for a long long way I guess. I've toured with it a few times, and it has handled everything - I've knocked it a bit already, and a roadie tripped over it once and landed on top of it. The guitar didn't know about it!

I'd never gig without a backup - strings break! That aside, no problem. I've noticed no incidence of de tuning in hot or cold weather, and it's done a few long trips in the boot or the back seat.

Asthetically, the finish I expect will last as long as I will.

I got a 12 month warranty on it - not brilliant, but got an assurance that Maton were generous in this area. Was that part of the sales pitch?

I have had no problems that needed resolving - so it's hard to comment. However, in the buying process I did ring the Maton company to ask about how it would sound if I used different gauge strings. The receptionist put me straight through to the Cheif Luthier, who wasn't there, but rang back 20 mins later. I'd love to speak to the chief luthier at Fender that easily!

I have been playing for 30 years. I'm mainly a rock/blues player, and as mentrioned mainly a Strat player. I've always had an accoustic for home enjoyment - always classicals. This is my first steel string accoustic.

But I love it. I love looking at it, and love playing it. It's a guitar that makes me play differently, which was an unexpected pleasure. In fact, it's now my first choice guitar when writing and recording originals, so it's made me expand my horisons. I'd change nothing on or about it, and would definitely buy another one. To me, the more expensive Maton's I tried had no better sound nor playability - despite pearl inlaid fretboards or Tommy Emanuel's name on it.

I'm totally rapt in this guitar. It's a pity there are no reviews from dedicated accoustic players on this site. I understand it's a small combany compared to Martin, Taylor, Gibson et-al, and production costs in Australia are similar to the US - plus the freight. But if you ever get the chance, play one.

This particular Maton has a brilliant satin finish, solid Queensland Maple back and sides, AA Grade Sitka Spruce soundboard and the cool 'keyhole' headstock. The pickguard on mine is tortoiseshell, which looks absolutely fantastic and which i (some others may not) prefer over the plain black ones. The guitar has a very 'warm' look and it just 'says' pick me up!

It also features a AP5 pickup (same as the Tommy Emmanuel model) which has an amazing sound when played through a good amp. I also bought a Maton Hiscox LiteFlight Case. The case was not cheap (when compared to a standard Maton Case) but it is well worth it as it provides such good protection for the guitar. It is so solid and well built it can withstand something like 85kgs on top of it.

Before i purchased my Maton i played an approx $550 Ashton Acoustic. There is simply no contest between that and the Maton. When looking for this guitar i tried a variety of others side by side (around the $1500-$4000 price range), which include Takamines (with CoolTubes), Cole Clarks (Maton offshoot), Seagull and also a Gibson Hummingbird (think Angie and Wild Horses!). While they were all great guitars, for the price i was willing to pay, i think that the sound my Maton produces is still the best.

When i purchased the guitar it was in immaculate factory condition. Everything was set up perfectly. Cant fault anything here.

The guitar came with very good Elixir strings which seem to be lasting for ages!

This guitar plays live with ease! Plugged in or not, it sounds magnificent. While feeling tough and strong enough to withstand a fair battering, it doesnt come across as mechanical, industrial or 'boxy' as some other guitars seemed to me. As with the guitar, the Maton Hiscox case is also extremely durable and i can depend on it (and even stand on it if i feel the urge haha!)

The music shop which i bought my Maton from is a local business for me, i did shop around for the best price, and it wasnt actually my local place, but i have bought a lot from them in the past and they did their best to match the price of the cheaper place. The cheaper place is a member of a very large chain and obviously has a lot of buying power, but i much prefer to support my local businesses. The added advantage with that is as they are a Maton dealer, they have the tools to repair if necessary. But i have never had a problem yet - and dont expect to!

I have played for a little under 5 years and this is my second guitar. I play it through a 60W Roland Cube Amp on acoustic, and the pickup allows a fantastic clear sound. Aside from the Ashton i mentioned earlier, i also play a Fender Standard Stratocaster, and a Epiphone Les Paul Custom. This Maton sounds as great as is looks, and vice-versa, and would definately purchase it again if i were to lose it. If there was anything i wish it had, it would be an interesting/unique inlay on the neck - it has silver dots which do fit well with the entire guitar, but i just like inlays! Probably my favourite feature would be the wood; in different lights it appears to change colours and at times even looks holographic in some parts. I cant fault anything with this guitar. The price above includes the case (which is well worth it)

Shortly after purchasing my Maton i was told by the music shop owner that due to the recent unusual spate of hot weather, shipments of guitars had been arriving suffering warping of the neck. It was not due to a poor quality build; he said he had sent back a few high-end acoustics as well as top name electrics due to it. To avoid this, he suggested purchasing a humidifier which i did, and have not had any problems at all.

This Maton is a guitar that i can see myself owning for many, many years, if not for life. I am glad that i bought it, and although it was a lot of money for me (as a student) i do not regret spending it, and think that the guitar was worth every dollar.

My ECW80C has a really cool satin sunburst finish! The chrome Grover tuners are great! The Queensland Maple back and sides with the sitka spruce top are a definite bonus. The fingerboard is rosewood, with simple dot inlays.

The sound of this guitar is amasing. The guitar has very full yet bright sound. I play everything from Acoustic Rock to Blugrass. It works great for both! The musicians I have played around are blown away by the way the sound resonates when played.

The action and playability blows away any Martin, Gibson, or Taylor I played (in similar price range). The satin sunburst finish is beautiful! No Flaws!

The guitar just feels like quality! I believe it is as durable as I would ever need. I don't tour, but I know this guitar would hold up fine.

Haven't needed it!

I love my ECW80C! I played a ton of guitars prior to purchasing my Maton. I wanted something other than the typical Martin or Taylor. They both make a nice guitar, but I wanted change! I first read about Maton in my Acoustic Guitar World magazine. I later saw Jack Johnson's sunburst model and thought it was really cool and unique. There were no dealers in Indiana so I called a dealer in Knoxville Tennesee. They were so confident in the guitar they said they would ship it to me on a money back guarantee. Needless to say they were right! I am confident I could not have found a better guitar in this price range! If I decide to purchase a guitar in the future I will start my search with Maton!

This dreadnought-bodied, cutaway, acoustic/electric guitar was manufactured at the Maton Guitar Company's Box Hill VICTORIA (Australia) plant in Oct of 1999. This particular model was introduced in 1988 and is still in production at this writing.

It features a 21-fret rosewood fingerboard and the neck, sides and back are all of solid Queensland Maple. The top is solid AA Sitka Spruce, all done in a Nitro-Satin finish. The box is bound, top and bottom in Australian timber and the box features a herringbone rosette.

An AP5 pizo-electric pickup system is installed. This comprises controls for volume, bass, treble and a two-knob frequency/dB mid-range sculpture adjustment. This is all channeled through a pre-amp module powered by two infinitely more accessible and inexpensive (than the usual 9-volt) AA batteries.

The tuners are Maton-specific (EG logo), non-locking Grovers.\

It is difficult to imagine what other features might be added to an acoustic/electric guitar.

My acoustic music styles range from Robert Johnson through Pete Seeger, Bob Dylan, Glen Cambell, Rye Cooder, right on up to anything that's being pumped out on acoustics these days. Except for music requiring specific instrument sounds (eg classical, dobro, baritone, etc) this axe handles them all with ease, grace and finesse.

It projects almost like a National, but in full, rounded and rich tones that are clear as water. More than any other guitar (of the over 60 I own), this one emulates my Martin HD-28.

Clarity and projection are its strongest points.

I have spoken with Maton's General Service Manager, Chriss Finch and also with the principal of their Custom Shop, Andy Allen. Let me say that five minutes into a discussion with either and you'll be forming an expectation regarding the quality of Maton guitars; these guys are serious and dedicated luthiers.

The fit and finish of this guitar is absolutely flawless. All materials and components are high-end gear.

These are performance instruments, make no mistake about that. Tommy Emanual plays them regularly (there's even a Maton model named after him). I happen to know that a few weeks before this writing, John Fogerty (AKA Credence Clearwater Revival, etal) purchased three custom shop guitars.

Nobody I know of would feel awkward about stepping in front of an audience with any Maton product; some I know would not go on stage WITHOUT their Maton.

I've had dealings with the company on a first-hand basis and have always found them to be friendly, professional and eager to please.

Maton maintains a website (http://maton.com.au/default.asp) and there you'll find absolutely everything "Maton" past, present and future.

I have been playing since the late 1960s, both for pleasure and for profit (sadly, more of the former than of the latter). I collect and trade in guitars and currently have over 60 in stock. Among them are Matons, Martins, Gibsons, Fenders, Gretch's, Guilds, Ovations, etal.

This axe is one of my absolute favourites. It is one of two I leave out on stands in the lounge room, ready to be picked up and played whenever the urge strikes (as it does several times each day).

Initially, I chose this guitar after speaking to Maton staff at a recent Brisbane Guitar Show. I was already aware of the marque and did want something genuinely Australian. Now I'm a fan. I now own two of thier guitars, one of thier vintage valve amps and am currently bidding on a third guitar.

I love the full yet clear and bright tones this guitar produces. There are other guitars in my collection I would prefer to be stolen before this one and if it ever was taken, I'd replace it in a heartbeat.

I could go on forever about how the tuners are grovers and about how the neck is made from Queensland Maple but if you really want information about all the features go check out the maton website and it has all the info, plus pictures there.

Essentially the guitar has everything you need to play. It has no special tricky things, it's just a straight out guitar with a cutaway and with a pickup, and that's great.

When I bought this guitar it was a close call between this and the Cole Clark Fat Lady (I think Fat Lady 1, but I'm not so sure.). Both guitars were nice but the Maton seemed to have a bit more clarity in its playing. The maton was stocked with Elixir strings and that probably helped a lot too (Although I think the Cole Clark may have had the same strings). I still use Elixirs as they are the best I have used in my opinion.

The guitar has a very full sound, like most matons I've played very mellow, deep and warm sound, but that doesn't mean it's all muddy, no. That is not the case.

After playing my maton and going to play other acoustics like cort, seagull, Yamaha etc. I have been disappointed with their sounds. The maton just absolutely kills the competition, I don't think there's a better guitar for the price.

The stock action was a bit stiff but it suited me. I'm sure anyone could get it setup to suit them perfectly. It's been almost a year now and it still plays well, but I may get it set up soon (if I can afford it.)

Very reliable guitar, the tuners are great and the guitar takes a beating, I must say that. I have dropped this guitar, scratched it, dropped cymbals near it and put it into my overhead fan in my room. Although it doesn't sound like it I do take good care of my guitars, and some of these things are just inevitable (although putting it in the fan was a bit stupid and was my user error due to lack of judgement.)

The guitar is still holding together well, a few scratches on the back from a belt or zipper or something, and of course the dent in the headstock thanks to the fan, but it still works great.

I personally haven't had to deal with maton, but my father did with his old 12 string and not only were they helpful to him but they were nice blokes and took notice of his guitar well (because it is an old guitar).

Great guitar, best in the price range in my opinion. Not quite as good as the EA80 which was my first choice, but it at at least $400 cheaper this is a fine choice.

If you're picking between this and the similarly priced EM325C definitely take this one. Great guitar.

Made in Melbourne Australia. Mine isn't technically an ECW80C, it's actually labled as a 'Countryman'. In reality it's the same guitar with the same specs sold through 'World Of Music'tores. The only difference I can find is the cream pattern on the edges of the body - on most CW80's I've seen, it seems to be black. In SHort the only difference is that this one looks a little nicer than most :)

Got this one 2001.

AP5 pickup. Cutaway. Not much else. Pretty run of the mill. I wouln't want it any other way with an acoustic! I wouldn't mind the AP mic though :)

This guitar gets used flat out. It's my primary guitar, and my brother constantly uses it. The singer in my band uses it at gigs and rehearsals. It sounds very nice some fresh strings.

Often DI into PA. I'm rarely happy with DI sounds, but this one comes out well most times. I go through stages where I like Fishman pickups, then I hate them and love the AP5. It doesn't have the sweetness of the live sound though.

This guitar sounded great used for a recording into a RODE NT2000 valve mic! Loved it!

Bass is generally good and there aren't a lot of guitars that I've played that can beat this one. Plus I'm used to it and it feels like 'my' guitar!

I used to love guitars with low action, but I've changed my style over the years and have become a bit more of a slammer (sorry....).

This guitar came with slightly higher action than some matons I've played, but I like it. Normally have 13's on high E - fairly heavy strings. I don't like the way any acoustic sounds with light strings - Yuck!

I've noticed the timber age and the finish on the front has darkened. I don't know what they call the finish, not gloss though. I've found over time, the places where your sleeve rubs have gone shiny and the timber has stained a little. Not a huge gripe - this guitar gets PLAYED.

THis guitar is only three years old but it gets used contantly. I have seen quite a few MAtons from the 70's and they still sound and play good, so I see this guitar as a keeper.

It's may not look pretty in another 20 years, but it'll still be kickin'.

This guitar is the main acoustic at gigs. I have a cheap ibanez as a backup - I call it the 'Punisher' for anyone who dares to break a string. I have a backup because strings break and batteries die.

Can't say.

Been playing about 8 years. In bands for the last five years. Have an Ibanez acoustic w Fishman pickup. Cort 12 string, Peavy Wolfgang Electric, Fender Strat Deluxe, Washburn XB400 bass, Marshall JCM 2000, Gallien Krueger RB700.

If this were stolen or lost i'd be unhappy, but I'd happily get another. I'd try to play lots and find the one that I liked most fo sound, fnish and feel.

I don't think Aussie's can can a better price / quality deal than Maton. The American brands are way too expensive here and it's a matter of taste that determines if you like them more or less.

My ECW80C (Custom Blackwood) was made in september 2001. I got it totally custom made to suit what i wanted and after talking with the man who was to build the guitar for me i tell you what he delivered the goods. The specs are as follow: AAA Solid Sitka Spruce top, AAA figured Tasmaniam Blackwood back and sides with blackwood binding, Solid QLD maple neck with a Blackwood heyhole headstock, Ebony fingerboard and bridge and they even engraved my initials on the scratch plate. It has a light satin finnish which makes it very rich and warm in tone. They also included a brown leather Maton strap for me.

The tone of this guitar is simply to die for. I once took it to a friend who is a diehard Taylor (he owns 3) and Martin fan and he just couldnt get over just how big yet tight the bottom end tone was. I have gigged this guitar since the second day after i bought it and it has never let me down through any system. Used to have feedback issues through PA's but that was easily remedied with a feedback buster. Never a problem since. I also own and operate a studio in Brisbane Australia and I have been suprised by the varying tones i have achieved with this guitar with a nice warm valve mic. I just cant fault the tone.

When i first got the guitar it was fitted with 12-53 strings and it played quite well out of the box but as i do with all my guitars i took it straight to my setup guy and let him work his magic. The only problem i had with the guitar from new was that there were sanding marks around the heel of the neck so i contacted Maton as soon as i noticed it and they simply said "send it back and we will fix it for you straight away" within 3 weeks my baby was back and looked amazing.

This guitar has been majorly gigged and apart from a couple lil edge marks and pick lines it still looks as new. The only thing that has really changed is the colour of the face since i bought it it has gone a sort of honey tone as the timber has aged with the finnish it looks great. I havent even bothered getting strap locks fitted to this guitar as the strap buttons are nice and big and are quite capable of holding the guitar. And in regards to gigging without a backup i only own this guitar (that being said i just ordered a custom built BG808 Artist which i will post about a couple months after i get it).

Fantastic, as i said earlier i had some finnish problems with the guitar and they were more then happy to fix it free of charge. Cant complain in this area.

I think i have summed this guitar up enough above as u can see i LOVE it. if stolen would i replace it of course.

Solid spruce (AA) top, oz maple sides and back, AP mic (piezo/mic combined) system. Made in 2002. Standard features for a guitar in this price range except for the upgraded electronics.

Distinct maple sound, very bright and stronger on the upper end like all maples. This guitar can be played hard without any problems whatsoever.

Action is OK from the factory but I'll need to get it adjusted to fine tune it. Electronics installation is very clean. Finish is very light and has flaws that indicate a less than robust inspection process. Spruce top has uneven grain which is less than esthetically pleasing, but does not effect the sound.

This is a workhorse of a guitar. Nothing fancy. I anticipate the finish will need some work in just a few years though. Everything else on this guitar is solid and it seems ideal for gig work that way. Not a guitar you have to baby.

Playing for over 30 years. Have a Martin D-18 (old with a bad neck, but quite playable), Lakewood D-32 (strictly for studio/home), and a Tacoma parlor (for travel). I wanted a basic solid wood guitar with good electronics that I could use on gigs and not have to worry about knocking around. This fits the bill quite well. You could buy a low end Taylor online for about the same price, but this one does have that distinct maple sound that you just can't get with mahogany. This is very much a no frills, quality instrument and my only complaint would be with the finish and esthetics. The action is decent and the guitar appears to be very sturdy. I see a lot of Taylors and Martins on gigs. I wanted something with a bright sound and something that looked different than the average gig guitar. A perfectly fine guitar for gig work that looks like it can take a lot of stage abuse.

This is a 1999 Australian dreadnought cutaway made with solid Queensland maple for the back and sides; mine has a lid made of bunya -- a timber native to Australia and suitable for use in making guitar tops. Bunya is similar in weight to spruce, but stronger, producing excellent projection and volume with clear upper mids. The look of bunya may not be for everyone (check out images at www.maton.com.au), but it makes this guitar distinctively Australian in appearance.

The ECW80C also has a Queensland maple neck, 21 frets, rosewood bridge and fingerboard with dot inlays, quadruple inner banding, herringbone rosette, blackwood outer banding, lightly figured blackwood veneer over keyhole head stock, deluxe chrome tuners, and a nitrocellulose satin finish. The dovetail-jointed neck has a very comfortable thin profile and measures 1-11/16? at the nut. Scale length is 25-1/2?; the fingerboard has a 12? radius. While the AP5 pickup is standard for this model, mine came with the upgraded APMic blender, which combines an under-saddle pickup with an on-board microphone mounted in a foam sleeve on the lower inside lip of the sound hole. The preamp is powered by two AA batteries (120-hour life), and has slider controls for volume, bass and treble, and knob controls for midrange and mic blend. As with most Maton?s, this guitar has a simple yet natural appearance. The bunya top adds a uniquely rugged look -- there are no fancy inlays or extra frills here. This guitar was sold with a molded Lite-Flight Maton case. Maton buyers should contact their dealer or the factory directly to get a special tool needed for truss rod adjustment, as repair shops outside of Australia probably won?t have one. I had ordered one along with my original purchase of an EBG808 Artist from Haworth Guitars in Australia (www.haworthguitars.com.au), who has served me well in the past.

I hear a lot of comments about how the reviews found on this and other message boards merely reflect opinions about how great people think their latest purchase is. Face it, people will write a review either when they are impressed with a product and want to tell others about it, or are equally motivated by a negative experience and want to slam the product on-line. When it comes to solid-wood guitars, I would hope that buyers wouldn?t lay down their hard-earned cash and keep a guitar with sound quality which to their own ears, wasn?t at least a ?9? or a ?10.?

That said, this Maton is a keeper. I regularly tell people to get a copy of the album ?Only,? by Australian guitarist and my personal hero, Tommy Emmanuel for the quintessential example of Maton tone. While the body of the ECW80C is made of Queensland maple, this name almost seems like a misnomer. To me, this tonewood has much more the appearance and hardness of something from the mahogany family than the more familiar big leaf maple. The sound of this guitar is full and warm, exceptionally well balanced with excellent sustain, but woodier than the sound commonly associated with American maples. The bass response is loud, but not ?thumpy? sounding. Using the manufacturer?s recommended phosphor bronze light strings, its tone is clearly in the same family as my EBG808, but louder overall and stronger in the bass register. The Queensland maple doesn?t produce quite as many complex overtones as the blackwood- bodied Matons. When medium strings are substituted, some additional higher-order harmonics disappear, and the sound becomes tighter, leaning more toward the sound of a Martin. Tuned down a half step or so with mediums, though, this guitar regains its sparkle, and I have found it particularly well suited to playing in alternate tunings with both light and medium strings. This has become my guitar of choice for DADGAD and CGDGAD finger picking, though it is equally well suited to musical styles that use standard tuning and/or flat-picking. I generally keep it strung with 012?s. Recording buffs will find this an excellent guitar to mic, requiring little or no EQ to get usable recorded tone.

Maton really has the electronics thing nailed down, as their pickup rivals the dual source systems made by the likes of L.R. Baggs and B-Band. The APMic is a clear cut above the Fishman blenders that are prominent in the marketplace these days, with nowhere near as much real estate removed from the side of the guitar to accommodate the controls. Adding 20-25% mic smoothes out the tone, picks up the percussive sounds of fingers/pick, and adds a bit of extra warmth to the midrange. Using more mic can induce feedback if you are near a speaker, but you really don?t need much mic blended in at all to achieve optimal tone. If you are accustomed to using a ?Feedback Buster? sound hole plug, you will need to get one from Maton as their sound holes are slightly smaller (100mm diameter) than most American guitars.

Setup on this guitar was very good from the start, with the action set at factory specs that are comparable to Taylor?s. Like most Matons that have been in the States for a while, this one needed a tweak on the truss rod upon receipt from the previous owner. The Maton truss rod tool consists of a screwdriver handle with a two-foot long shaft, and a square quarter-inch nut driver welded to the end. Truss rod adjustment is accomplished by unscrewing the bottom strap pin with an Allen wrench, then inserting the shaft of the tool through the exposed hole in the body to reach the end of the truss rod from the inside at the neck joint. Care is needed to avoid disturbing the pickup wiring while inserting the truss rod tool. The Maton tuners operate very smoothly and hold pitch well. As with my EBG808 Artist, the satin finish is ultra thin (think Seagull S6 or Taylor Big Baby), and offers little in terms of protection from minor dings and scratches. Although the guitar was listed as only played a few times when I bought it, the original owner had obviously managed to push several short dent lines into the wood by fumbling around while trying to insert a guitar cable. On the positive side, I was able to raise the grain on these minor blemishes fairly easily -- something that can?t really be done with gloss finishes. Maton does claim that the thin finish enhances tone, and after almost two years of regular use there is still not a mark on my other Maton. It?s all a matter of how careful you want to be with your guitar.

Matons are clearly crafted to last, and given the same handling called for with any solid-wood guitar, last they will. This guitar could easily be depended on for playing out live. Anyone who has seen Tommy Emmanuel perform knows the kind of treatment that a Maton will endure -- a lesser guitar would be in pieces. Using them to double as a percussion instrument, he slaps them like a drum, scratches their soundboards with his fingers to make Aboriginal sounds, and even strikes them on the face with a drummer?s brush? And he?s had the same two favorite Matons for years on end.

I?ve exchanged e-mails with Maton on several occasions, and have always found them courteous and responsive. They have added a link on their web site to a community forum that is frequented several times a week by the Maton folks to answer questions. I had a problem with the internal mic on my EBG808 Artist, and they were reasonably prompt in sending me a replacement free of charge. Maton does very little marketing in the States, and readers are encouraged to download the price list from their web site for a full run down on all the models that are available. Many of their best models are not shown on-line.

My family recently went to see Tommy in San Diego, and I brought this guitar with me for him to sign. We showed up an hour and a half early, and waved at him frantically when from outside we saw him walk through the lobby. He was happy to come out and chat with us, and he played my ECW80C for probably five minutes or so while we talked. He absolutely went nuts over this guitar! Maton had just sent him an ECJ85 jumbo, and he was disappointed by the thickness of the neck. He loved everything about mine, especially the feel (which is the same as my EBG808 Artist), and he offered facetiously to trade me the jumbo for it. I originally figured he was just being really nice to a family of obvious fans, but I heard later from the guy who was hosting Tommy while in town that he was still carrying on about my guitar backstage! Needless to say, I still have the ECW80C, and it now proudly bears Tommy?s signature tastefully on the face above and parallel to the neck between the sound hole and the 14th fret. Suffice it to say that if it?s good enough for Tommy, it?s good enough for me, and I won?t be letting this one get away!

This is an Australian maker and the CW80 series has the definitive Maton sound. Handmade in Audtralia, this model is an acoustic-electric cutaway with solid top (aa grade sitka spruce), back and sides (Queensland maple). I have the older model which came with unshielded piezo pickups. That gave me some noise problems but the guys at Maton corrected it immediately upon notice. I was told that it was a batch defect. The new ECW80C has replaced the pickups with their AP5 pickups. Matons have a unique truss rod system which can only be adjusted with a special adjuster. So if you are not in Australia, maintenance and servicing could be a problem. As far as I know, Maton does not make cases. Sorry, but Maton gets a 6 for not providing hard cases.

I bought this because of its warm sound. The natural tone is good and provides rich middle tones. When amplified (I use a Trace TA 100R), the sound reproduction is faithful. Personally, I found other guitars too bright (esp Japanese makes eg Takamine, Yamaha). This was a welcome change. Since the shielding problem was fixed, I've no problems I've also tried Taylors but I find this Maton more responsive to my playing style (a mix of finger picking and strumming). When needed, it can resonate bright enough to cut above the full band sound.

The factory set-up was good but Maton recommends that it be brought back after 6 months to re-adjust the action. The initial action was set to 0.12 gauge D'Addarios.The neck is not as fast as Taylor guitars (nothing beats them !) but I can get to where I want to go without problems. My Maton came with natural nitro stain finish. Bits of it came off at the sound hole when I played my plectrum downstrokes against it unknowingly. So be careful with your technique. as you may hurt your guitar accidentally. This Maton was well up all round as a quality guitar should.

This is a workhorse. It is very reliable in live playing and sounds good when plugged direct into the PA system. I've used it without backup (I play in a worship band in church almost every week) and it has never let me down. The hardware is good and the soundboard has not warped after almost 2 years in humid Singapore (provided adequate care is given in storage).

Top class. I bought my Maton in Sydney and brought it back to Singapore. When I had my shielding problems, I sent Maton a fax. Almost instantly, I received an overseas call from Maton answerindg all my queries and sent replacement piezos to me FOC. mine came with a 1 year warranty but I should think that Maton will provide assistance without too much difficulty. The only pronlem is that outside of Australia, there is virtually no-one selling or servicing these guitars.

The price of this guitar is what you would pay for an entry level quality acoustic (eg Martin D1, Taylor 400 series). Yet, the quality matches the mid-range models of some American acoustic makers. It definitely beats Japanese guitars hands down. For that, it is very good value for money. I would recommend it for someone seriously thinking of owning a good acoustic electric guitar but who is unable or unwilling to pay too much. Feel wise, I'd probably go for the Taylor. Soundwise, the Maton virtually unbeatable in its price category.