Guitars and Humidity. The Ongoing Battle

I’m sure you’ve heard the saying “an ounce of prevention is worth a pound of cure”.

I can’t think of a better example of this than guitars and humidity. When a guitar is exposed to high or low levels of relative humidity, the woods absorb or release moisture to achieve equilibrium moisture content with the surrounding conditions. This is one of the natural laws of wood and has been driving guitar makers and repairers to distraction forever.

The effects of low moisture levels in guitars are quite well known; low actions, protruding fret ends, and even soundboard splits are common when a guitar is exposed to very low humidity conditions for anything more than a few hours. The effects of high moisture levels on a guitar are probably less well understood. They include raised actions, swollen soundboards, sunken fret ends and a host of other issues, most of which impact the playability and tone of the instrument.

In most of these situations, the effects can be reversed to a degree with prolonged exposure to ideal climatic conditions (45 % RH and moderate temperatures, say 22 deg Celsius). This obviously does not apply to splits. They need to be repaired. This reversal is not complete either. There are usually a few residual issues that require a skilled repairer to resolve.

 

Maton Boveda guitar Care

This is because wood has a “memory” and there is an effect known as hysteresis which means that even though the moisture content in the wood may revert to “ideal”, the cellular structure of the wood will have altered to some degree and maintain the “new shape” despite the change in moisture content. To reverse this effect involves taking the instrument beyond the target point (in the opposite direction) for a certain time and then letting the wood settle to its ideal setting. This is call reconditioning in wood drying parlances and, though fascinating, is way too complex for this discussion.

So, given all that, the best way to avoid all this heartache and trauma is to not let it happen in the first place.

Up until now this has been quite difficult and probably beyond the resources and knowledge of the average musician. This is where Boveda comes in. Boveda have created a product that sits in the case with the guitar and controls the moisture levels in the case environment by absorbing excess moisture or by releasing moisture in dry conditions. We have selected their 49% relative humidity packs and tested them extensively.
The easiest way to measure movement in moisture levels in a guitar is by weight.

Guitars can absorb or shed up to 20 mils of water depending on ambient conditions. We put two guitars through a variety of intense conditions, from hot and dry, to hot and super wet, as well as cold and dry, and cold and damp. Both guitars were in cases, one with three Boveda packs, one without.

These were conditions we would never warranty a guitar through, and frankly, we expected them to show severe signs of stress after their ordeals. The guitar with no protection experienced a weight fluctuation of 14 grams, the guitar with the Boveda packs fluctuated by 7 grams. The guitar with the Boveda packs required no adjustment and action height and playability remained constant. There was some movement on the second guitar which required setup work to rectify.

The Maton Calendar 2024

Flat lays of all your favorite Maton guitars.

A Limited edition Calendar surely to become a Christmas Classic for 2024.

The perfect Christmas gift for Maton enthusiasts

Photographed by Michael Foley

 

 

 

Powerhouse Late: Maton Exhibition Talk

Discover the Powerhouse after-hours and gain insight into the history of Australia’s leading guitar manufacturer, Maton Guitars, next Thursday the 4th of February.

This is FREE event at Powerhouse Museum (Ultimo, NSW, Australia). Book your tickets now.

Led by a Museum curator, visitors can hear about Maton Guitars’ roots, first models and influence on the music scene crossing genres such as Country and Western, Folk and Classical, Rock and Roll, and Jazz. Explore the ‘Maton: Australia’s Guitar’ exhibition to see some of the rarest Australian guitars ever displayed, including instruments and amplifiers used in the heyday of Australian jazz, folk, rock and country, as well as custom models made for Australian music icons.

Visitors to the Powerhouse Museum will be required to wear a face mask and sign-in upon entry. Please bring your own mask when visiting. Thank you for keeping our community safe.

Proudly funded by the NSW Government.

Photo: Zan Wimberley

 

 

 

KEITH RICHARDS. GIMME SHELTER AND THE EG240 Supreme

Keith Richards reportedly owns 3000 guitars and he once jokingly said, “give me five minutes and I’ll make them all sound the same.”

FROM  THE MUSIC THAT MATON MADE 

ROLLING STONES – GIMME SHELTER

But there’s something about the guitar on “Gimme Shelter” that’s very different. 

The song contains one of The Rolling Stones’ best-known riffs, it comes from one of their most critically acclaimed albums and it has one of the most fascinating backstories in their entire catalogue. 

And what was Keith Richards playing on it? A Fender Telecaster? A Les Paul Standard? A sunburst Gibson ES-330TD?

None of the above. It was a Maton *EG240 Supreme. 

The story of how Richards ended up with an Australian guitar in his hands while recording “Gimme Shelter” in 1969 is a happy accident. 

Like so many things from that time, Richards forgets the name of the person who owned the instrument but remembers him staying at his London apartment for a while. 

“He crashed out for a couple of days and suddenly left in a hurry, leaving that guitar behind,” he recalled in a 2002 interview with Guitar World. “You know, ‘Take care of it for me.’ I certainly did.”

Well, not exactly. In fact, the guitar ended up in two pieces. Richards played the Maton throughout the Let It Bleed sessions in February and March 1969 and particularly on “Midnight Rambler” and “Gimme Shelter”. 

“It had been all revarnished and painted out, but it sounded great,” he said. “It made a great record. And on the very last note of ‘Gimme Shelter’ the whole neck fell off. You can hear it on the original take.”

The run of four albums the Stones made between 1968 and 1972 – Beggars Banquet (1968), Let It Bleed (1969), Sticky Fingers (1971) and Exile On Main Street (1972) – is generally considered the highpoint of their 53-year career. 

But the band was at a fractious point in March 1969 when they entered Olympic Studios in Barnes, south-west London. Brian Jones, their mercurial but drug-addled lead guitarist, was virtually missing in action during the making of Let It Bleed. Although he would turn up to the early sessions – and there is even a photo of him sitting cross-legged on the studio floor, attaching a capo to the neck of the same Maton played by Richards – he had become increasingly erratic and unable to play, and is only credited with recording congas on “Midnight Rambler” and autoharp on “You Got The Silver”. 

Richards played the lion’s share of the guitars on the album, with Mick Taylor, who would soon become a full-time member, playing on “Country Honk” and “Live With Me”. 

Jones, originally the leader of the band, was sacked on June 8, 1969. He died from drowning in his pool on July 2. He was 27 years old.

Meanwhile, Jagger and Richards were having their own personal problems. In the soap opera of the Stones’ love lives – it was the late-’60s after all – Richards had taken up with Jones’ girlfriend of two years, Italian model and actress Anita Pallenberg, in 1967. In early 1969, Pallenberg was acting with Jagger in the British gangster film Performance, and the two had an affair. 

Some have suggested the sense of stormy menace is “Gimme Shelter” is directly related to Richards’ feelings of betrayal. It should be pointed out that Richards has admitted that, in an act of revenge, he had sex – just once – with Jagger’s girlfriend, Marianne Faithfull.

Jagger has always talked about the lyrics to “Gimme Shelter” as reflecting the times at the end of the ’60s. In a 1995 interview with Rolling Stone, he said, “Well, it (was) a very rough, very violent era. The Vietnam War. Violence on the screens, pillage and burning. And Vietnam was not war as we knew it in the conventional sense. The thing about Vietnam was that it wasn’t like World War II, and it wasn’t like Korea, and it wasn’t like the Gulf War. It was a real nasty war, and people didn’t like it. People objected, and people didn’t want to fight it.”

Richards’ take on it is more personal. He reflected on the song in Life, his 2010 memoir: “I wrote Gimme Shelter on a stormy day, sitting in Robert Fraser’s apartment in Mount Street (in London’s exclusive Mayfair). Anita was shooting Performance at the time, not far away. It was just a terrible fucking day and it was storming out there. I was sitting there in Mount Street and there was this incredible storm over London, so I got into that mode, just looking out of Robert’s window and looking at all these people with their umbrellas being blown out of their grasp and running like hell. And the idea came to me. My thought was storms on other people’s minds, not mine. It just happened to hit the moment.”

Barry Divola 2014

*Edited 2024

 

Shopping cart0
There are no products in the cart!
Continue shopping