A Signature Model Is Someone's List of Complaints
There's a guitar hanging in a Shimokitazawa shop window with a name stamped into the truss-rod cover, and every time I walk past it I think about how much of that nameplate is actually a confession.
This week Hotei Tomoyasu marked forty-five years as a working guitarist with two concert films released the same day, and the coverage marking the occasion did what Japanese guitar press always does for a player of his stature — it ran down the other names who have their own signature models out there, Hamada Shogo, Matsumoto Takahiro, INORAN, Okuda Tamio among them, each one, the piece said, built around that player's own particular fussiness. That word, fussiness, is doing more work than the spec sheet ever will.
A signature model isn't really a product. It's a list of complaints that got taken seriously by a factory. Somewhere in every one of those instruments is a player telling a luthier, after twenty years, exactly what has been quietly annoying them — this fret sits half a millimetre too tall, this neck profile makes the thumb ache by the third encore, move the strap pin two centimetres to the left or I will keep dropping the thing on the fourth song. The marketing copy reads like aspiration. The actual document underneath it reads like a diary of small physical irritations, finally fixed.
I haven't had a Hotei signature model in my hands, and I'm not going to pretend I have just because the trade press ran a nice photo of it this week. What I can tell you, having spent a career around players who did eventually get their own build, is that the request is never about tone first. It's almost always about the body — a wrist, a shoulder, a thumb that has done the same motion ten thousand nights and has opinions about it now.
That's what I actually like about the category, more than any of the tone claims attached to it: a signature model is the one piece of gear whose review you cannot write from a press release, because the whole point of it is a body that isn't yours.
I walked on past the shop window without going in. Behind the glass, under someone else's name, was forty-five years of exactly disliking one small thing until it got fixed.
I grew up at the bottom of the world, on the New Zealand coast, close enough to the sea that the salt got into everything, the speakers included. The radio dropped out every time the weather turned, so I learned early that sound is something you can lose. Reckon that's why I've spent my whole life chasing it. I chased it across the Pacific to Los Angeles and never quite went home: a dozen years of other people's sessions, first as the kid making coffee in a Burbank studio, now from a small room in Echo Park. I'm a producer and an engineer, but mostly I'm a bloke who can't sit still when a good record comes on. Give me a guitar with a bit of hair on it, a synth that drifts out of tune as the room warms up, a low end you feel in your chest. I want sound you could take a bite of: big, wide, a room breathing around the band. Long dinners, loud speakers, nights that don't know when to quit. Life's too bloody short for bad sound. One rule, and I don't bend it: if I haven't put a signal through it, I'm not writing about it.