Hey everyone, today I want to share my experience comparing two incredible acoustic guitars from Yamaha’s A3M series. Having owned the old version for over a decade, it has been my loyal workhorse, perfect for gigs and long hours of play. But curiosity got the better of me, and I couldn’t resist trying out the revamped version to see if it could live up to its predecessor’s glory.

Let’s start with the old version. What drew me to it initially was its alluring vintage look, reminiscent of classic guitars. What set it apart was the thin electric guitar neck, which made playing for hours a breeze, especially during those jam-packed gig days. The preamp setup was a winner for me, boasting three types of microphones and a tuner. This combination resulted in a realistic and rich sound that truly stood out among other acoustic guitars.

The revamped version, on the other hand, featured a slightly different design both internally and externally. The bracing changes gave it a fatter sound, which was appealing in its own way. However, there were some trade-offs. The tuner was missing, and the preamp turned out to be noisier, with a peculiar honky resonance that was hard to ignore. Visually, the revamp went for a more modern look, akin to guitars from brands like Taylor.

Both guitars come with padded gig bags, making them ideal companions for musicians on the go. They are both affordably priced, being manufactured in China, but there is also a pricier Japanese version available.

As a musician, my focus has always been on live performances, although I do some recording too. For those who prioritize recording, the revamped version might be the better choice due to its improved acoustics. But for live players like me, who rely on plugging straight into the PA or front-of-house system, the old version truly shines.

Ultimately, choosing between the two depends on your musical preferences and needs. The old version, with its vintage charm and reliable preamp setup, works like a charm for live gigs and performances. And as it has been around for quite a while, you might even find it at a more budget-friendly price nowadays.

On the other hand, the revamped version has its appeal with the fatter sound and sleek design. If recording is your primary focus, it might be worth giving it a shot.

To sum up, both guitars have their merits, and it’s challenging to declare one as outright better than the other. They each cater to different musical requirements, so the choice ultimately falls upon the type of musician you are. I hope my experience with these Yamaha A3M guitars helps you in making an informed decision.

Today, I want to take a moment to explore the timeless and indispensable concept of pentatonic scales. As guitarists, we all begin our musical journey with the Old Faithful pentatonic shape. It’s the go-to scale for rock and the starting point for improvisation. However, there’s another pentatonic shape that I believe is equally essential, and it offers even more creative possibilities.

Now, let’s introduce the “1-3-1-3 Slide” pentatonic shape. This unique pattern consists of five notes played on two strings and then repeated one octave higher on the lower and higher strings. Starting from the flat seven of a minor scale, the pattern goes 1-3-1-3, and you’ll quickly recognize this iconic sound from guitar legends like Eric Clapton. This shape, with its sliding motion, brings a bluesy and expressive quality to your playing.

You’ll notice that this shape offers a lot of freedom for rhythmic variations, making it ideal for blues and funk-inspired playing. For different tonalities, you can easily switch to major by moving three frets down from the root, playing the major pentatonic shape. It has a bright and soulful vibe, perfect for infusing a Clapton-esque sound into your guitar solos.

Next, let’s explore how we can alter the pentatonic scale by changing some of the notes, creating new and exciting variations. For example, the “Jog” pentatonic involves replacing the minor third with the major third. This modification results in a more ’60s-jazz-inspired sound. Here’s how it sounds in action:

This variation opens up a world of musical possibilities, and you can confidently apply it in different contexts to add a fresh touch to your solos.

Another intriguing alteration is the “Flat 7 to Flat 6” pentatonic, where you lower the flat seven to the flat six, providing a funky and soulful flavor. This shape pairs well with dominant chords, like E7 or minor 13 chords, and creates a funky Prince-like atmosphere. Let’s hear it in action:

The “Flat 7 to Flat 6” pentatonic offers rhythmic flexibility and is perfect for those looking to infuse funk and blues into their playing.

By experimenting with these various pentatonic shapes and incorporating them into your playing, you’ll notice a significant expansion in your musical expression. Remember, the beauty of pentatonic scales lies in their simplicity and versatility, allowing you to effortlessly move between different styles and tonalities.

So, take some time to explore these creative approaches, and don’t be afraid to mix and match them in your solos. As you progress on your guitar journey, you’ll find yourself confidently navigating these captivating pentatonic shapes and creating your own unique musical voice.

For more in-depth lessons and personalized guidance, feel free to reach out to me. Until then, keep practicing, keep exploring, and let your guitar sing with the power of pentatonic! Don’t forget to subscribe and share this video with your fellow guitarists. Happy playing, and take care!