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.

In our experience, Michi Matsuda is one of the finest artists working in lutherie today, and it is always a sincere pleasure to have his instruments in the shop. Today we’ve got one of his M1 models from 2005 decked out in African Blackwood and Adirondack Spruce, and man-oh-man can it sing.

Something about the African Blackwood seems to help open up the middle registers and buff the bass notes until they shine, and with a fabulously tight-grained Adirondack Spruce top, the voice is rich and enveloping, expertly balanced. One of the ultimate fingerstyle guitars, this Matsuda M1 exudes an easy complexity with each note that mirrors the sensation of floating in the ocean, weightless, making it easy to lose track of time and of yourself while playing. The subtly-sunburst Mahogany neck features a wide nut at 1 15/16″ which provides wonderful string spacing for complex chords and allows you to better appreciate the precision with which each string rings.

Are you a fingerstylist? Please: do yourself a favor and take this Matsuda for a spin.

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!

What an artistic and musical instrument! Michi Matsuda is quite simply one of the most exciting modern Luthiers we have in the guitar world. Just look at the character and style he achieves in this guitar. From the unique shape and cutaway to the partial rosette, elegant fingerboard terminus, carved bridge and amazing design of the soundport with three dimensional appeal this guitar is dramatic. But the real emotion comes from playing it, Michi is one of the star pupils of Master Luthier Ervin Somogyi and the lineage of his tone is evident here. This guitar has a huge voice that easily fills the room with wonderment and joy. Deep, rich bass topped with full bodied trebles that you can’t wait to play. Crafted from the finest Brazilian Rosewood and European Spruce, this is a player’s dream…

This is the kind of guitar that us all excited here at Dream Guitars. This is an example of one the hottest young builders pushing the envelope and searching for new ideas. We first so this guitar at a guitar Festival in 2003/4 and remembered it well. The bracing features a strut running the entire length of the body to which the neck is attached in a unique and artistic fashion. The soundboard and neck are both pitched toward one another creating string pull at a steeper angle which makes this an extremely lively guitar and makes it very easy to play up the neck. The soundhole was moved to the area around the neck block and supplies abundant volume to the player. The Bridge is a work of art all to itself, carved by hand into a beautifully functional sculpture. The sound is quite extraordinary, the biggest, fattest treble strings you’ll find anywhere and clarity beyond compare. There is a hint of an archtop quality, but mostly it is very strong flattop sound that is well suited for fingerstyle or single line sole work where power and clarity are essential. This is sure to be a wonderful collector piece as well as Michihiro Matsuda’s career blossoms as we feel certain it will.