If you like Yamaha's sound and you bone the LL16, it's definitely a GAS killer, as Gary said. It's not a notably powerful or deep bass, and the overall tonal picture is very different from the lower midrange warmth of Martin's 15 Series, for example, perhaps the modern benchmark in current 'new folk' instruments. It's very well sorted to sit well in a standard band mix, without too much faffing with mic position and EQ. Easier to understand is the new, lower-profile, non-scalloped X-bracing structure that Yamaha has developed to increase volume and improve bass response over previous models, though by nature the LL body (developed from Yam's FG modified dreadnought shape from 1966) was designed to be less 'boomy' than the fabled Martin D. 'Well balanced' and 'sits easily in a band mix' is the sort of territory Yamaha is shooting for. It also features a new non-scalloped bracing design that delivers a beautiful and well balanced tone. The stiffness in the five-ply neck contributes to the guitar's generally bright, lively tones, with the ebony 'board and bridge adding to that. It's a far cry from the active systems in other models; there's a far more simple 'Zero Impact' passive undersaddle pickup (the PU-R pickup element, which is the same as in Yamaha's A Series instruments). With the LL16D, old Gibsons come partially to mind; a mid-60s J-50, for example, isn't a guitar that would blow your socks off with strident power and clarity, but boy, they sound sweet and record beautifully. We like this neck; it has enough meat to feel traditional and a good compromise of string spacing choices to suit strumming and picking. Don't miss the latest deals, news, reviews, features and tutorials. Who is the best acoustic guitarist of 2020? It is newer, tighter and brighter sounding, but it has some of that sweetness about it. England and Wales company registration number 2008885. Apart from the abalone, however, it's otherwise the same as the solid rosewood back and sides LL16 ARE model (and the same price). Its A.R.E.-treated Engelmann spruce top is finely and evenly grained, with the warm amber glow of a vintage guitar. The solid-wood LL16D ARE is built on Yamaha’s LL platform, a variation on the classic dreadnought body that’s designed to be less boomy. © Build. I knew he would back me up on the choice of the LL16. I tend to like Monel strings for my vintage Martin D-42 but found they were not right on the Yamaha. As ever with Yamaha, the standard of finishing is superb, almost to the point where we forget to comment on it. Visit our corporate site. "With the LL16D, old Gibsons come partially to mind; a mid-60s J-50, for example". "As ever with Yamaha, the standard of finishing is superb, almost to the point where we forget to comment on it". Their price is also one of the distinctions. Who is the best online guitar personality of 2020? BA1 1UA. The company goes into plenty of detail in its marketing materials about ARE, claiming that by manipulating temperature, humidity and pressure at a 'sub-cellular' level, the spruce's molecular structure is changed to be closer to what it would be after many years of playing and use: it's 'played in', 'older', or however you want to term it. Poshed-up version of the more plain LL16 ARE, offering stunning spec for very sensible money. The beautiful coloring of the rosewood back and sides ranges from deep purple to warm brown. Since Yamaha LL TA is based on LL Series, there’s not much to say. With our reference AER Compact 60 3 set with flat EQ in channel one (high-input sensitivity selected, 'colour' deactivated), there's plenty of output from the passive system that returns a very balanced all-round tone. To be Yamaha 's ultra-credible heritage with distinctly mid-level pricing well sorted to sit in! Well in a standard band mix, without too much faffing with mic position EQ... 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