Huss & Dalton TOM-R & DS
New to these shores via Oasis Music, are US made Huss & Dalton. Richard Thomas takes a sneak preview at the
first pair to arrive in the country...
Introduction
The guitars I have for review this issue come from an American maker I’ve read about, but not previously seen in the
flesh. Huss & Dalton have recently celebrated their tenth anniversary as producers of fine guitars and are recognized
in their home country as a member of the elite group of luthiers producing high-end, “boutique” instruments which
includes Santa Cruz, Collings and Bourgeois.
As with other makers in this group, Huss & Dalton’s catalogue is based on classic Martin and, to a lesser extent, Gibson
designs. Some may argue that a degree more originality in design would be desirable, but personally, I have some
sympathy with the “if it ain’t broke, don’t fix it” approach. Martin and Gibson designs are regarded as classics for
good reason and the current crop of American luthiers aim to make these designs to the highest possible standard,
providing players with instruments of superb quality and modern playability – if they’re fortunate enough to be able to
afford them!
Construction
The two models under consideration in this review are based on Martin’s OM28 and Gibson’s highly regarded Advanced
Jumbo – both pre-war designs and particular favourites of mine. Both come equipped with handsome tweed covered
TKL hard cases – a nice variation on the standard black used by almost everybody else it seems. First impressions, on
opening the cases, were very positive. Both guitars seem to have captured the vintage look and I couldn’t wait to pick
them up and start playing.
Although having very different designs, both instruments share some common features. For example, as with all Huss
& Dalton guitars, they’re not true flat-tops. In fact, the tops are slightly arched (to a 25-inch radius for those of you
who are technically minded), which imparts greater strength to the top and reduces the likelihood of it sinking with
time. Both instruments feature quarter sawn Honduran mahogany necks, ebony fingerboards and bridges and nickelplated Waverly tuners – now de rigeur it seems for any high-end acoustic guitar. Both guitars have Indian rosewood
back and sides, and sitka spruce tops. In each case the wood is nicely grained and appears to be top quality, with the
backs being enhanced by a traditional “zigzag” strip.
Turning my attention to the DS first of all I noticed that it’s slightly narrower than most guitars of this style,
measuring 15 7/8 inch across the lower bout – the traditional width for a dreadnought, although most roundshouldered designs of this kind are 16 inches wide. It’s not a huge difference, but I thought it enhanced playing
comfort a little.
The top is beautifully finished in a flawless dark sunburst, complemented by some nicely figured maple binding – a
welcome change from the ubiquitous ivoroid or tortoiseshell. A simple tortoiseshell scratchplate and a black and
cream soundhole rosette complete the picture. Internally things are just as good, with immaculate struts and bracing
and not a hint of excess glue or any other cutting of corners.
The neck has a nicely rounded profile and although the specification sheet accompanying the guitar states that
fingerboard width is 1¾ inch at the nut, it feels fractionally narrower. A quick check of the company’s website
revealed that the standard width for these instruments is 1 23/32 inch – a nice compromise between the 1¾ and 1
11/16 inch widths most commonly found on modern acoustics. In any case it’s a comfortable profile for a wide variety
of playing styles. The ebony fingerboard sports some nice abalone snowflake inlay – nothing over the top, but it adds a
nice decorative touch. The figured maple binding continues along the fretboard, but is omitted from the soundhole
end. I’ve seen this on one or two other guitars and it always strikes an odd visual note for me, looking a little
unfinished. The rosewood-faced headstock has a Martin style profile, rounded just a little at the top to give a hint of
originality. Truss rod access is located here and is protected by a wooden panel, which I thought looked a little out of
place.
The TOM-R is equally well-constructed. The natural finished top looks superb with traditional herringbone purfling and
ivoroid binding and I must admit that I’m a sucker for this vintage OM28 look, evoking memories of the Collings OM2H
that I reviewed (and reluctantly returned!) in Issue 7.
In this instance, the fingerboard is bound in ebony and features slotted diamond and square inlays. The headstock is
squared off Martin-style and turning the guitar around reveals a diamond volute adding another note of vintage-styled
authenticity.
In Use
Picking up the DS and strumming a few open chords, I was immediately impressed by the volume available from this
guitar. It’s a strong, majestic sound, booming bass with a touch of warmth and a sparkling treble, with a strong midrange ensuring that the slightly “scooped” sound one sometimes encounters in dreadnought-sized instruments doesn’t
arise. This guitar was made for belting out strong rhythms and will also flatpick beautifully if you’re so inclined. To my
very pleasant surprise it’s not a bad fingerpicker either, although if that’s what you really want you may be better off
with the TOM. I benchmarked the DS against a similarly specified (and priced) Bourgeois Slope D. The Huss & Dalton
was certainly louder, with a brighter treble, though the Bourgeois had a slightly sweeter tone.
On picking up the TOM-R, I was immediately reminded of the reasons for my fondness for this type of instrument. It’s
a superbly responsive guitar, with a bright but balanced tone. Like its larger stable mate, the DS, it’s a remarkably
loud guitar, but very easily controlled and lends itself to delicate fingerpicking as much as all-out strumming. Of
course, it doesn’t have the bass of the DS, nevertheless it’s no lightweight in this respect either. In fact, I was really
impressed with this guitar’s ability to deliver across a range of styles – a superbly responsive fingerpicker, a lively
strummer and, although you won’t be hanging up your D28 just yet, it’s not averse to a bit of flatpicking either if
you’re tempted to give it a try. It’s quite a bright sounding instrument and I was surprised to find it was fitted with
light gauge (0.011” – 0.052”) strings. If this were my instrument (and I’d be enormously pleased if it was) I’d fit a
slightly heavier gauge which I think would enhance the tone even further. For its combination of responsiveness, tonal
quality and balance this guitar is pretty hard to beat, evoking memories of the wonderful Collings OM that was
altogether too fleetingly in my possession a few months ago. In terms of playability it equals Collings, Taylor and
anything else of similar quality that I’ve tried.
Conclusion
I’ve always liked Gibson’s round-shouldered design for its dreadnought-equivalents, preferring it, in fact, to the more
rectangular dreadnought profile. However, as is the case here, I frequently prefer the versions other luthiers produce
to those of Gibson themselves. If you need a good strong rhythm and flatpicking instrument you could do a lot worse
than the DS (in fact you might struggle to do better). Of the two instruments I found myself gravitating towards the
TOM which seemed so effortlessly playable and coped with whatever I asked from it.
Huss & Dalton are clearly a force to reckoned with in the world of high-end luthiery. The one issue for me, was the
relatively high prices. They’re certainly compatible with those of Collings, Santa Cruz, Bourgeois and similar makers.
At these prices the market must be reasonably limited and Huss & Dalton will provide even more competition for their
fellow American luthiers. Of course it’s always worth bearing in mind the excellent instruments available from British
fellow American luthiers. Of course it’s always worth bearing in mind the excellent instruments available from British
luthiers, often of comparable quality and at lower prices.
It seems that Huss & Dalton are another star in the firmament of top quality luthiers. Definitely another one to add to
your list of must-try instruments.
ACOUSTIC RATING: TOM-R
Build Quality
Yet more superbly built American
guitars.
Sound
A Collings-like clarity and flexibility - a
guitar for all seasons?
Playability
Fantastic playability - up there with the
best of them.
Value
The main difficulty for guitars in this
price range will be competing with
discounted Martin prices and instruments
available from British luthiers at lower
cost.
Wow Factor
Both guitars are beautiful - nothing
overstated, just classic good looks.
TOM-R
Price: £2595
Manufacturer: Huss & Dalton
Model: TOM-R
Body Size: OM
Made In: USA
Top: Sitka Spruce
Back & Sides: Indian Rosewood
Neck: Quarter sawn Honduran
Mahogany
Fingerboard: Bourdin Ebony
Frets: 20
Tuners: Nickel Waverly
Nut Width & Scale: 25.4 / 1.75”
Electronics: None
Strings: 11-52 Elixir Bronze
Left Handers: Plus £125
Gig Bag/Case: Tweed covered
OMHSC
ACOUSTIC RATING: DS
Build Quality
Yet more superbly built American guitars.
Sound
A great strummer and flatpicker a classic
American sound.
Playability
Fantastic playability - up there with the
best of them.
Value
The main difficulty for guitars in this price
range will be competing with discounted
Martin prices and instruments available
from British luthiers at lower cost.
Wow Factor
Both guitars are beautiful - nothing
overstated, just classic good looks.
DS
Price: £2695
Manufacturer: Huss & Dalton
Model: DS
Body Size: Dreadnought
Made In: USA
Top: Sitka Spruce
Back & Sides: Indian Rosewood
Neck: Quarter sawn Honduran
Mahogany
Fingerboard: Ebony bound with
Maple
Frets: 20
Tuners: Nickel Waverly
Nut Width & Scale: 25.4 / 1.75”
Electronics: None
Strings: 12-53 D’addario EXP
Left Handers: Plus £125
Gig Bag/Case: Tweed covered
OMHSC
Huss & Dalton
c/o Oasis Music
T: 0870 803 4135
hussanddalton.com
Excerpted from ACOUSTIC Magazine, "The UK's only magazine dedicated to the Acoustic World."