Maton M100 Messiah

Maton Messiah EM100c, made in Australia July, 2004 with AP 5 pickup System. Features include solid Sitka spruce top (with an unusual and beautiful patina), solid rosewood sides and back, ebony fretboard and bridge, Queensland maple neck (no relation to American maple, similar to mahogany but with superior tonal characteristics), 21 medium frets, Gold Grover tuners, herringbone trim. The pickup controls include bass, treble, gain and variable frequency midrange (1K-2K sweep). Cut-away body style. Gloss finish.

The neck profile is round, and similar in feel to that of a '59 Les Paul. Interestingly, I usually prefer a slim-taper neck, but this one is more comfortable to me than slim taper necks on other instruments.

The quality of the ebony is absolutely as smooth and closed-grain as you will find anywhere. It feels like silk under my fingers.

The AP5 pickup is not a 3rd-party product like those found in other instruments. Maton designed it. More on this later.

Mine came with a case made by Hiscox in GB. The instrument fits snugly and the case is lightweight and flight-quality.

Although I live in the US, I purchased mine directly from a dealer in Australia and imported it myself. A bit of a hassle, but well worth the effort considering the amount I would have had to pay a dealer here in the US.

The dealer that I purchased it from was thoughtful enough to include a truss rod adjustment tool. I don't know if this normally comes with the instrument, but it's not what one would think of as a truss rod tool. I can see why they included it. It's about 3 feet long, and looks more like a rotisserie skewer than a tool. My guess is that most American dealers would be confounded trying to figure out how to make an adjustment with a typical allen wrench. I assume that one would remove the bottom strap button and go in the hole through the body to a truss rod receptacle in the base of the neck.

Whew. This is a serious instrument. The sound could be best described as harp-like. To my ear, the natural overtones present in each note are quite evident, whereas most other instruments don't exhibit this characteristic. Each note sparkles without a hint of being overly bright or harsh. When using finger-style, articulation is second to none. It will make you aware of everything about your approach, from the way you release a note with your left hand to what part of your index finger you picked it with. But all of that is really nothing compared to the amount of natural sustain this baby will produce! Just strum the instrument open while it's in the case, and let it ring. Quite surprising. One more thing that stands out about this instrument is its dynamic range. When a chord it sturummed hard, it can produce loads of volume with great clarity. Most other acoustics that I play seem restrained by comparison now.

As for the sound of the pickup, it's very natural, and the controls do allow one to tailor the tone to suit one's taste. The reproduction is true to the natural sound of the instrument, as opposed to the exaggerated sound of some inferior pickups. That being said, there is one rather glaring deficiency. There is no notch filter, and like any acoustic instrument, it has a resonant frequency that needs to be suppressed. In my case, it appears to be centered around the low G/Ab, and it can be very pronounced. I anticipate that I will be using some kind of external EQ to notch it out, as it cannot be corrected using the controls on the AP5 without disturbing the overall tonal balance or reducing the gain significantly. Don't let that stop you from acquiring one of these fine instruments, though! This is a minor blemish on an otherwise supurb instrument. I am taking away 1 point for this, as I feel certain it can be corrected externally.

The action is very low and very even throughout.
The dealer (a skilled luthier in this case) performed a setup to my preferences and the results were perfect. If you do get one of these, take note that the two hex nuts on either side of the saddle are NOT for adjustment of the action. They are for anchoring the hex pickup assembly, which can be damaged by improper adjustment. RTFM.

The quality of craftsmanship and materials is obviously top-shelf. The rosewood back is bookmatched with a center rosewood laminate delimited by a pinstripe-thin strip of lighter wood. The binding appears to be walnut, but it's very close to the color of the rosewood. Very detailed herringbone trim. The top is really beautiful, as it sports a flame/figured patina. I have rarely seen this in a spruce top.

Everything in terms of fit and finish is flawless.

This guitar will stand up to anything short of wanton neglect. The quality of construction is solid and precise.

The finish is smooth, even, glossy, and not at all tacky to the touch. Of course, that may change in the summer months when humidity comes into play. We'll see.

I would use this on a gig without a backup and not think twice.

I haven't had the need at this point to contact the manufacturer, but from what I can tell by my research, they are very easy to deal with. Pretty much a family business since inception in 1946. The warranty is 1 year, non transferrable.

I've been playing a very long time (think decades, not years).
I own well over a dozen instruments, most considered top-shelf, including names such as Martin and Taylor. If anything happened to this one, I would replace it IMMEDIATELY with another one exactly like it. I was fortunate in that I found a second-hand one in mint condition at a very resonable price. This is rare, though, as people tend to hold on to these. Still, at the price it sells for new in Australia, it's a drop-dead bargain. In my opinion, it's far better than any production-line acoustic I have played anywhere near the price range, and it holds its own alongside some hand-made instruments that sell for far more.

I love the sound, the appearance, and the way it feels under my fingers. If you want a clue as to what a Maton acoustic guitar can sound like, go find some clips of Tommy Emmanuel. He uses Maton (almost) exclusively, and his style shows off the best characteristics of these guitars, not to mention the fact that he's a virtuoso.

Maton Messiah EM100c, made in Australia september, 2004 with AP 5 pickup System

the others, the same as mentioned in reviews below

the sound is very good, bright, enough bass, rich and full, the mid boost is a good feature for on the stage soloing, boost your sound nicely in an instant tweak
not noisy at all,
i plugs it directly to a mixer, and going to 4 bose speakers...WOW
I PLAY at the live band in the church,
i changed the string using DR 11, OR Gibson 11, and it's YESSS...so comfortable and longer time playing before you got fatique on the finger, mainly while playing blocked chord...
the sound also becomes less crispy, wich is better, TRY it!!change the string to gauge 11.....
with gauge 12...it sustained too long...in my opinion and too crispy in the ear...again elixir strings that come out with it originally is quite expensive compared to other brand i think

gloss finish... very nice appearance... but a bit sticky when your hand is sweating on the neck while playing,,,compare with if it's satin finish...

everything is good for a factory built guitar... but compare to a handmade guitar finishes, i'll just can give it a 9

AP 5 pickup is arguably the best accoustic pickup available...it's quite far superior than the Ap4(which is also very nice)AP 5 got more features which is useful

i have never touched the gold finishes with my open hand...i always use tissue, or eyeglasses's clothes when tuning the guitar...so it's still shinning perfectly until now..but if you're using your greasy hand...tuning it...it will corrode a lifetime anyway i believe, since it's not 24 karat gold used there...ey, they will face bankrupcy if using thick 24 karat gold for the guitars...(joking)

i will do gigs without a backup with the "messiah", and
it is a very versatile guitar to have

the maton strap is very nice in brown colour...fit the guitar awesome

never dealt with them...mine has no warranty...i don't think i will need it..so i got quite a lot cheaper for the guitar alone

i have been palying for 7 years now, i have owned paul reed smith custom 22, Fender american series 50th anniversary, Epiphone Sheraton II, 5 classical guitar..Yamaha, 1 guitalele, Cort acoustic, Alembic Rogue Bass, ibanez, Messiah..and many others, i have also got for about 17 effects pedals..., and Messiah is my favourite acoustic guitar ever..mmmuach...

anything i wish it had??mmm...for Top of the line guitar...may be it should have a better inlay..a more glamorous ones... not just dots..or snowflakes...it may be one like flower along the neck..like steve vai's inlay on his guitar..but well..it worth the price though
overall this is a great guitar...i love it so much...now..let me play with it again... See you later

Maton EM100C 'Messiah' 11/2003 Victoria, Australia
21 frets
Soft cutaway
Top: AAA solid spruce w herringbone inlays
Pickup: AP5
Back/sides: Solid Indian Rosewood with pinstripe binding
Neck: Queensland Maple
Headstock: Rosewood Keyhole Mother of Pearl Logo
Fingerboard: Ebony with Snowflake inlays in MOP
?Messiah? block inlay at 17th fret in MOP
Bridge: Ebony
Pick guard: Tortoiseshell /w Gold Maton ensign
Tuners: Gold Grover
Hiscox moulded flight case, Black

I'm playing styles from Acoustic Rock thru Country / Bluegrass in a studio environment.
Shure Beta 58 mikes. Digidesign DIGI001 / ProTools LE. AKG K401 headphones.
Guitar is clean and quiet. Interesting claim - AP5 is guaranteed not to distort, which I?ve found to be true.
Sound is tight but resonant. Individual notes can be enticed into huge howling overtones. Strummed is crisp and clear. Many people comment on the amount of sustain.
A nice consistent, even response all over the neck
Solid, warm bottom end sounds impressive in a big room or small. Mike or Line.
Controls are precise and smooth, allowing you to shape your sound accurately.
There is nothing to dislike about the sound. It sounds like an expensive guitar. Yep, money CAN buy happiness.

Messiah was factory set up with 12 gauge Maton strings. I continue to use 12's on this guitar.
Action is such a personal thing, I really have no complaints. I'm still playing it straight out of the box.
The finish on this guitar is outstanding. A mirror finish, hand rubbed nitro-cellulose lacquer with no blemishes. Very thin lacquer allows timber to resonate resulting in a rounder, more musical tone. The sound of bright wood.
I found a gouge on the fingerboard near the 19th fret that had been filled with some black substance. Quite obvious once you know it's there. Everything else is fine.
Did I mention I like this guitar?

I wouldn't do any gig without a backup, but this guitar won't fail me.
I understand it's built to be played and I do much of that.
The finish will eventually be scratched, rubbed and bumped, but that's how it is. Just be careful.
All I know is this guitar lets me share the best of my music with people, and I really haven't enjoyed a better factory guitar, ever.

I haven't dealt directly with the factory. The guitar was chosen sight unseen and delivered promptly. No complaints.
I was intent on a Maton, based on their popularity and quality name and I?ve played them.
I also own a Maton M225C. The best value entry level acoustic available. I play it often.

Overall impression of this guitar Rating 8.
A few standard Maton practices annoy me.
Jack input is located on bout of guitar. I prefer end tail pin/strap but I do like noiseless insertion, ooh.
I don't like pick guard gold Logo as this appears overstated. It also distracts from the tortoiseshell. I think in keeping with the elegant lines of this guitar, just one Logo is enough.
I will be purchasing another Maton, regardless. This time, an A80 ?Australian?, for its superior Australian timbers.
I have sat for hours with my ?Messiah?. It makes me want to play and shows me new stuff all the time. Get one.

2003~Australia...14 frett to Body/Cutaway
solid AAA Top Tight grain,
I choose the AP/Mic Volume,bass,Tremble,Presence,Mic fader~Active
Back and Sides East Indain Rosewood with Oueensland Maple Neck
High Gloss Finish
Ebony Fingerboard and Bridge
Goldplated Grovers
I never measured ...but it fitts real nic in my hand
Case is a His-cock,Truss rod adjuster

I use this Guitar for Blues, Easy Rock, Gospel,Bluegrass Flatpick'n and Fingerpick'n
it is very versatile
I use a Yorkville Acoustic Master-150 and an Ultarsound 50 with Extension cabinet...from soft to full bore I show this guitar no Mercy (it can handle any thing that is put to it)
it has a rich /full acoustic sound

This is one of the finist guitars off the Rack
everything was excellent as far as a factory set Guitar
Of Course I had it set up for my playing and it's like a Hot Knive in Butter

this is a work horse this guitar will withstand any reasonable playing in the House, open Mic, or stage setting,it has stood against some tuff compition it has replaced a couple of verywell known Brands...I will stand behind this guitar all day long...

Customer support from Maton is secound to none....
I have Talked with customer support ...and they will stand behind this Guitar no problem...

I fell this is one of the nicest guitars in the World,for being a Company/Factory made guitar...This might not be the Holy Grail of Guitars ,But it is right up in the top 5%
This is a Keeper....Like a stated I have sold so top notch guitars, Just to Buy a Custom Matching 12 String just like this one...Yes I now have a pair of these the 12 string is the EM100C/12 with some little Extras....I will again buy another ome of these Matons just not sure what model Yet...They have some Beautifull Koa Guitars out there

The Messiah has a built in bridge pickup underneath the graphite bridge. The Maton AP5 controls consist of a DB Boost with range of -10 to +15dB, frequency control and sliders for Bass, Treble and Volume. The pre amp unit takes two AA size batteries housed in a an easily removed battery clip which clips into the control. The unit also has a low battery light when plugged in. As previous writers have said the materials and construction of this instrument are nothing short of superb. A musical version of a Lexus if you're into cars. In other words as good, if not better than a Mercedes at a third of the price.

I play contemporary country rock, some blues and ballads when I play acoustic. This guitar has a deep, rich, well-balanced tone with sharp highs, mellow middle and deep bass. The woody character ads to this incredible balance. I used to have a Gibson Dove but I found it was too soft. The messiah has heaps of volume. Open chords just fill the room with sound and linger.

The finish is excellent. Unfortunately a goofball guitar mechanic at the local music store put a slight dent in the top. looks like he bumped it with another guitar. Hardly noticeable (unless you're the owner of course). The harmonics and set up are spot on. The factory action settings are a good trade off between playing comfort and clarity/ tone/ volume. However it's not as easy to play as my old Gibson which just had a heavenly neck and action. Then again I'm not a muscle man and I don't play that much these days. Extended barre chord play can result in a bit of RSI, but that's probably my fault not the guitar's.

I've had my Messiah since April 99. The only thing I've noticed is that the simulated gold plated machine head tuning pegs have started to corrode slightly. Probably from my greasy fingers. However this is a solid guitar made of sturdy stuff. Most of Australia's leading acoustic players like John Williamson, Tommy Emanuel, Lee Kernaghan etc. use Maton and take them on the road. As for me no troubles in the lounge or bedroom.

When I was trying to get the action slightly lowered they put me in touch with a top grade luthier in Sydney. The guitars are actually manufactured in Bayswater Victoria, unless they've moved in the last four years. Apart from this I have no reason to contact Maton. However I've heard through friends that there after sales service is excellent and they take pride in the quality of their instruments.

I feel guilty owning a guitar like the Messiah, as I honestly don't play it enough. But I'd hate to think that it wasn't sitting in my study. It's nice to pull it out and cheer yourself up. After writing this review I think I'll resurrect my musical hobby and my Maton can mature into a graceful and elegant old lady.

I've also got a birdseye honey sunburst Gibson Les Paul Standard late eighties issue. One of the models after they went back to the original quality (some of the seventies ones were very average). I love this guitar too but I don't think I could bare to part with either of my babies. It's sort of like having a menage a toire with Elle McPherson and Sharon Stone. If one of them left you'd be heart broken.

I bought my Messiah directly from the manufacturer in January 2001. It's built in NSW Australia, and the materials are all first rate (the first review summarises them well). This is Maton's top-of-the-line guitar, and no expense has been spared in materials. My Messiah has a stock built in saddle pickup. Mine came with a custom built hard-shell Hiscock case in delightful shade of burgundy.

It's absolutely beautiful. I traded up to the Messiah from a solid top (but not top-of-range) washburn which I've owned for fifteen years. The washburn had what I th0ought was a pretty nice sound until I listened to this. It's crisp, it's balanced, it's woody, under a delicate touch it responds in shimering, crystal chords, and if you play it harder, it snarls! The crisp top-end lasts much longer on old strings than my old washburn. I play fingerstyle or with a hard flat-pick. It also sounds absolutely gorgeous with a capo. The pickup is nice and versatile and rounds out the sound, but when I record, I use two microphones (one over the strings, one towards the neck) to capture its delightful acoustic sound.

I'm no woodworker, but it looks pretty good to me. One complaint on the styling is a stylised "M" transfer on the scratch plate. This is guilding the lilly (and a dump place to put a transfer!) - but is easily removed, I guess. the action is beautiful - pretty low (wouldn't be much good for slide, but my trusty old Washburn's being set up for that!)

It's such a beautiful guitar I don't think I would take it on the road, just in case something did happen to it. In a live setting the subtleties of the instrument would be lost - you might as well play a cruddy old Takamine or something - why risk such a pearl?
For all that, I have no reason to doubt its reliability or durability

I dealt with the company directly, and they delivered the guitar to my workplace on the other side of the world within a week of me ordering it. Terrific. Having said that, I have had had no reason to contact them since it arrived (other than to say thanks!). I am very pleased to live in a country with no Maton dealership, because the guitar was very cheap!

I've been playing for fifteen years and I own lots of guitars - four acoustics and six electrics, and play all styles, from country to cod-classical to blues to punk rock. I've now had this Messiah for nearly a year, and it is by far and away my favourite guitar. If it were stolen lost or damaged I would buy another without a second thought. In fact, I could see myself buying another even if it weren't lost or damaged, but my wife won't let any more guitars in the house. She's strange like that.

When I bought this I had resolved to buy a top-of-the-line acoustic, and was prepared to pay twice what I paid for this. I trialled Martins, Taylors, Guilds (both new, used and vintage) and nothing equalled the Maton for sound and feel, despite being three or four times the price. Because it's Australian and because it doesn't have a big name, the Messiah is an unbelievable opportunity to own a piece of real craftsmanship at an affordable price, and I can't recommend it highly enough.

This is a top of the line Australian made dreadnaught steel string. It features an AAA grade solid sitka spruce top, solid Indian rosewood back/sides, ebony fretboard/bridge, natural wood/herringbone binding, gold Schallers, MOP inlays on fretboard. No case or accessories supplied.

The sound is lovely for a variety of styles. I play a bit of everything - early blues, ragtime, celtic, modern fingerstyle, flatpicking, chord strumming - and it does it all really well. Being a rosewood D it is a little boomy at times, but it's also very clear, articulate and three dimensional. If you use fingernails you can get nice strong bottom with detailed highs (think Ed Gerhard ballpark).

The guitar comes setup for 12-53 gauge strings although my review is based on 13-56 strings. The action is very smooth and buttery. The frets are medium in height and width and feel very nice under finger. The guitar has no real flaws, except that maybe a couple of the braces could have been sanded smoother. I've seen other Matons that didn't have this flaw though, so mine may be the exception. Doesn't hurt the sound any. This is very minor.

The guiatr is very solid, it reeks quality and style. All the woods are top notch, and the (thin) gloss finish looks great. Should age very nicely in years to come. I'm very looking forward to playing it in 20 years time...

Maton reply very promptly to questions and correspondence. They are a family company with a long history, and really care about their products and customers. Just about every guitar shop in Australia services Matons, so repairs are no problem. Warranty is 12 months.

I have been playing for about 13 years, and this is one of the best acoustic guitars I've played/heard/touched. I compared it to Martin, Taylor, Guild and a few others before buying, and the Maton won because of its woods, sound and value for money (compared to the American companies). For instance, a bottom of the range Taylor costs as much as the Messiah and isn't anywhere as good. Maton have a great website too, so check it out. They also have a huge range of custom options to choose from.