maton catalogue custom shop

The Maton Custom Shop

MADE IN AUSTRALIA

Contents

History of Maton 3

The Maton Custom Shop Experience 7

Guitar Construction 11

Body Shape 13

Tone Woods 15

Neck 17

Fingerboard 17

Inlays 17

Binding Options 19

Paint 19

Fitting and Setup 19

Case Studies 21

TE 50 22

Number 48 24

Sequoia Rose 26

Birregurra Creek 28

The Amazonian 30

Tribal Tattoo 32

The Bronzed Aussie 34

Waiata Ataahua 36

Maton Guitars6 Clarice Road, Box HillVictoria 3128 AustraliaP: +61 3 9896 9500F: +61 3 9896 9501W: www.maton.com.auE: [email protected]

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MADE IN AUSTRALIA

The History of Maton

The History of M

aton

history in the making

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Bill May, 1946

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Now in its 60th year, Maton Guitars has gone back to the company’s origins with its newly established Custom Shop. From its inception, Maton under founder Bill May built guitars to customer’s requirements. Today, one of Maton’s senior luthiers is following in Bill May’s footsteps hand building magnifi cent instruments ‘one on one’ with the customer.

From a small backyard workshop, Maton Guitars has grown into a truly great Australian success story. Currently Maton employs 60 people and remains 100 per cent family owned and operated.

Firmly established now as Australia’s favourite and most successful guitar, Maton is gaining acceptance on the world stage as an instrument of the highest quality. It is following Bill May’s vision of making hand crafted guitars at an affordable price that are as good as any in the world. His philosophy still rings true today: “If you make a good guitar, the right guitar, people will want it.”

In the early 1940s, Bill established a custom guitar manufacturing and repair business known then as ‘Maton Musical Instruments and Repairs.’ It was such a success that in March 1946 the Maton Musical Instruments Company was born. It followed Bill’s original theme or tone – the May-Tone or Maton – the name that has became attached to some of the world’s fi nest guitars.

That was 10 years after teenager Bill May, in 1936, built his own guitar and entered a radio station talent quest that he won. That winning guitar remains, and can be seen in Maton’s guitar collection at its Box Hill headquarters in Melbourne’s east – and it still plays beautifully.

Bill was training as a woodwork teacher when he met and proposed to Vera, who later supported the man she loved when he left a secure job as a teacher. He needed to follow his dream of building the best musical instruments. Working from a small shed behind his Thornbury house in Melbourne’s northern suburbs, Bill began building instruments that were carefully crafted. These instruments began to appeal to serious musicians who were impressed by the quality and unique tone.

In 1949, to satisfy the growing backlog of orders, the Mays bought a small factory on Canterbury Road in Melbourne’s leafy eastern suburbs, which became the fi rst of its kind in Australia. With Vera looking after the accounting and fi nance side of the business, Bill and his brother Reg began seeking staff for serious production targets. But his philosophy meant that “precision in work is very important. Individuals are important – I must have them. I feel it is the right way of life for a man to come and work and to give his ability to a job which means something to him and something to the end user.”

Bill’s enthusiasm proved infectious and lives on today in current staff members, who embrace the high standards of quality on which Maton was founded. Bill was particularly interested in experimenting with Australian timbers and these principles continue today with impressive results.

The History of Maton

Hand building magnifi cent instruments ‘one-on-one’.

“Precision in work is very important. Individuals are important – I must have them. I feel it is the right way of life for a man to come and work and to give his ability to a job which means something to him and something to the end user.”

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“I have spent my whole life playing music to people in Australia and I love playing an Australian-made guitar – the Maton,” said Tommy Emmanuel.

An astonishingly versatile player whose career became woven into the Maton fabric, Emmanuel bought his fi rst Maton, an MS500 model in 1959. His reputation as a high profi le performer helped lift Maton’s reputation and international profi le. He recently challenged “show me another guitar which is better and I’ll play it. Right now there is nothing better.”

Beloved and respected entertainers in Australia such as Emmanuel, John Williamson, The Finn Brothers, Paul Kelly, The Seekers, George Golla and Colin Hay have been seen on stage and television playing a Maton. This support has helped expand the company’s turnover.

International performers such as John Fogerty from Creedence Clearwater and Led Zeppelin’s Jimmy Page and even the late Beatle George Harrison have also played a part in spreading the word about Maton guitars.

Canterbury Road was Maton’s home for 40 years from 1949 to 1989. Bill’s health began to fade in the early 1990s and he passed away 6 May 1993. Right to the end Bill took a keen interest in the family company’s newly emerging directions, as did his widow Vera.

Bill had already prepared to hand over his and Vera’s company to his daughter Linda and son-in-law Neville Kitchen who have proudly kept faith with Bill’s vision. Maton moved to bigger premises at Bayswater in 1989 but within just a dozen years, it proved too small to cope with escalating orders, particularly from overseas.

The 2003 move to the current premises in Clarice Road, Box Hill, required an investment of millions of dollars to make the new factory ‘state-of-the-art’. It was a tough assignment – to retain quality whilst boosting guitar production. Linda and Neville Kitchen say that their workforce has lifted the bar when it comes to production standards. This has been helped by the introduction of locally designed computer programs and high technology that has allowed workers more time to do what they do best – make guitars by hand, in a safe, climate-controlled environment.

Every worker on the factory fl oor plays guitar, their passion for their craft clear in their devotion to making instruments that they would want to play.

The spirit of Bill May lives on and he would be proud of the results being achieved today.

The Maton Custom Shop Experience

The Maton C

ustom Shop Experience

the ultimate guitar experience

Maton’s Custom Shop provides you with the ultimate personal guitar experience. As the customer, you are invited to specify body shape, colour, decorative inlays and be involved in the selection of premium tone woods.

“Andy Allen [Maton’s Custom Shop luthier] selected some beautifully fi gured Queensland Maple for the back and sides. Also, a beautiful Sitka Spruce top. I’m elated to tell you that the fi nished product is a breathtaking treasure! Every time I play it, it sounds better and better. The guitar has a great voice, tone and sustain. It is a masterpiece... Thank you all very much for more than exceeding my expectations and building this quality instrument for me.” Phillip Crockett, owner of Number 48, California USA.

The Maton Custom Shop Experience begins with an initial one-on-one meeting with our senior luthier.

The Maton Custom Shop experience provides you with the opportunity to have a say in the dynamics of the desired sound speaking face-to-face with the craftsman who will build the guitar for you.

“Proudly Australian and from Melbourne, I had always wanted a Maton acoustic guitar as they are the best Australian made guitars and are hand crafted in my home town. After speaking with Andy, I explained how I wanted him to build my dream acoustic guitar made by a Victorian in Victoria and from Victorian timbers. A few months later Andy had designed and built my dream acoustic guitar. Hand crafted from the fi nest tone woods available with a special focus on “AAA Select” Grade Fiddleback Blackwood from Victoria’s Otway Ranges. My #66 Maton Custom Shop acoustic guitar now travels with me on all my adventures throughout the world.” Captain Rod Smith, Boeing 777 Emirates International Airlines.

The Maton Custom Shop Experience

You can be guaranteed that Maton will build a guitar that you can truthfully say is unique, a one-off.

“It has been my dream to own a custom 12 string Maton. It has the best action of any 12 string and is a complete joy and pleasure to play. When I had my fi rst ‘real’ play it bought tears to my eyes because I was overwhelmed by the gorgeous tone. I can not praise Andy enough for his fi ne work.” Suz Dolci, Queensland Australia.

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the making of a legend

Every Maton Custom Shop guitar is meticulously crafted by the experienced hands of Maton’s senior luthier.

All timbers selected for Custom Shop guitars are hand picked from Maton’s vast stocks and then thoroughly checked for structural integrity. This ensures that only top quality materials fi nd their way into a Custom Shop guitar. The timber’s visual appeal and tonal quality also form an important part of the selection process.

All the chosen components are then individually ‘voiced’ to ensure they can produce maximum acoustic performance. This is done by ‘tap testing’ and fl exing each piece to determine maximum strength and minimum weight, the recipe for great tone. It is a process that requires deep experience and construction knowledge and can only be done by an extremely skilled craftsman.

Maton’s Custom Shop luthier has the ability to build a guitar that will produce the sound that the customer has ordered and wants to hear.

The construction of a Custom Shop guitar is performed by a single, skilled luthier and this ensures every detail mirrors precisely the customer’s requirements. It also ensures the look as well as the sound matches the buyer’s dream.

Each operation is done by hand, the way Maton Guitars have been built since 1946, with no deadline. The process will take however long is required to meet the customer’s expectations. A masterpiece cannot be rushed.

Guitar Construction

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CONSTRUCTION OF THE BACK AND SIDES 1 Bending sides 2 Sides assembled in body jig 3 Trimming sides for face and back fitting 4 Clamping braces using go bar deck 5 Shaving braces for maximum tonal response 6 Face and back ready to fit to sides 7 Face fitted to sides 8 Removing completed body from body jig

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shaping your tone

A Maton Custom Shop guitar is an expression of your individuality. Through its unique form the tone of your new Maton comes to life.

Body ShapeThere are three different body shapes each with their own distinctive qualities.

Dreadnought: This is the traditional body shape which produces a full base response without sacrifi cing treble or midrange frequencies

Bluegrass 808: This is a smaller bodied guitar which produces a tighter, more articulated tone than its larger counterparts. Its highly focused projection makes the 808 a superb recording instrument.

Jumbo: Greater surface area to resonate enables the jumbo body to fi ll a room with sound. It has an even frequency response, with the large bottom end one would expect from the increased body size.

Blue Grass 808

BODY LENGTH479mm

BODY WIDTH366mm

BODY DEPTH125mm

TOTAL LENGTH1009mm

NO OF FRETS21

Dreadnought

BODY LENGTH510mm

BODY WIDTH404mm

BODY DEPTH125mm

TOTAL LENGTH1040mm

NO OF FRETS21

Jumbo

BODY LENGTH522mm

BODY WIDTH409mm

BODY DEPTH125mm

TOTAL LENGTH1052mm

NO OF FRETS21

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Australian madeAcacia melanoxylon (Victorian Blackwood)

Selecting the materials for your Maton Custom Shop guitar.

Soundboard

“AAA” Select Grade Sitka Spruce (Picea sitchensis) is the traditional choice of soundboard timber for many guitar makers. Sitka Spruce has become the benchmark against which all other timbers are measured. It is found on the west coast of North America from California to Alaska.

Western Red Cedar (Thuja plicata), also found on the west coast of North America, is lighter, softer and a little more stable than Spruce. Due to the lighter mid presence, it has a slightly sweeter tone than Spruce making it a favourite with fi nger stylists and classical players.

“A” Grade Solid Bunya (Araucaria bidwillii) is a Southern Queensland wood derived from the Bunya tree. It is an outstanding material for soundboards. Maton pioneered its use as a tone wood during the mid 1990s. Bunya has an earthy, wild, evocative tone which is a change from the conventional but with the volume, tone and beauty to stand up in its own right.

Back and Sides

Flamed Queensland Maple (Flindersia brayleyana) is found in a rainforest from North Queensland. This timber is visually striking and is extremely well balanced with an even response across all frequencies.

Satinbox (Phebalium squameum) is found in the Otway Ranges of south western Victoria Australia and grows as a companion plant to Blackwood. It is a stunning tone wood with great projection and a clear ‘glassy’ top end. It is aesthetically unique and in our opinion one of the most important tone wood discoveries in the past 50 years.

Brazilian Rosewood (Dalbergia nigra) is a highly sought after timber with its rich dark chocolate appearance. It is an extremely rare timber that is rapidly becoming scarce.

Victorian Blackwood (Acacia melanoxylon) is one of the most visually stunning furniture timbers available. Blackwood has also become an important tone wood. This timber is also from the Otway Ranges in south west Victoria. It often displays ‘fi ddleback’ character and “AAA” grade Blackwood can be intensely fi gured. It has a warm, full tone with a particularly pleasing mid frequency response and has become one of our most sought after timbers.

Tone WoodsThe Maton Custom Shop provides access to an extensive range of premium tone woods ranging from traditional materials to modern alternatives that offer a truly unique guitar combination. Maton is at the forefront of the use of Australian tone woods and the Custom Shop is where it starts. Timber options outlined below are always being increased.

TONEWOODS 1 Sitka Spruce2 Western Red Cedar3 Bunya4 Flamed Queensland Maple5 Satinbox6 Brazilian Rosewood7 Victorian Blackwood

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express yourself

Your Maton Custom Shop guitar is a unique opportunity to let your imagination run wild.

NeckAvailable timbers: Indian Rosewood, Brazilian Rosewood, Honduras Mahogany, Queensland Maple and Victorian Blackwood.

FingerboardAvailable timbers: Ebony, Indian Rosewood, Brazilian Rosewood, Mulga, Rock Maple and Jarrah.

Note: All timbers are subject to availability.

InlaysThe Maton Custom Shop provides the buyer with endless possibilities for intricate and decorative inlays. This can be explored through the fi ngerboard, rosette and bindings.

Fingerboard Inlay Options: Mother of Pearl or Abalone Block Inlays, Snowfl akes, Name Engraved in Block Inlay, Mother of Pearl Dots and Southern Cross.

Rosette Options: Mother of Pearl, Rosewood, Abalone, Rock Maple, Blackwood, Satinbox, Ebony, Jarrah.

NECK CONSTRUCTION 1 Spoke shaving truss rod filler strip flush to neck 2 Preparing fingerboard to be glued to neck3 CNC cutting dovetail4 Hand-fitting machined dovetail for absolute perfection

of neck angle5 Dovetail ready to glue in position6 Dovetail tapped into position for tight fit7 Scraping blend between neck and fingerboard8 Final hand sanding ready for finishing

ROSETTE9 Fitting Abalone pieces into Rosette channel

FITTING FINGERBOARD INLAYS1010 Hand-fitting block inlays into Ebony fingerboard 1111 Mother of Pearl block inlays in place

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a beautiful guitar to take youon an endless journey

Binding OptionsInner Binding: Triple Pin Stripe, Abalone or Mother of Pearl

Outer Binding: Ivory, Black or White Plastic or an exotic timber of your choice.

PaintOnce the guitar’s construction is complete, it is time for the guitar to be painted. The customer can have the option of either High Gloss or Satin fi nish.

Fitting and SetupThe fi nishing touches to the buyers’ very own Maton Custom Shop guitar is overseen by our fi nest technicians. They ensure that the guitar is set up to the customer’s personal standards and requirements.

Pickup System options are either the Maton AP5 or Maton APMic.

Machine Head options: Chrome or Gold Grover Rotomatic with either Pearl or Ebony Buttons.

With fl awless attention to detail guaranteed, your Maton Custom Shop guitar will be everything you wished for and more.

Before ordering your Maton Custom Shop guitar you can visit our website for inspiration: www.maton.com.au/products/custom-shop.html

Captain Rod Smith picking up his Custom Shop Guitar from the Maton Factory.

Flawless attention to detail guaranteed.

BINDING PROCESS 1 Preparing sides for binding process 2 Body ready for binding3 Bound body with binding tape still in place4 Scraping binding flush to body

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Case Studies

Case Studies

TE 50For more than 40 years Tommy Emmanuel has

played Maton guitars, fi nding his guitar of choice straight from the factory fl oor. In recognition of his long association with the company, Maton

invited Tommy on his 50th birthday to design his very own Maton guitar in our new Custom Shop. It was to be a guitar made individually like all the Custom Shop guitars, but this one was crafted to Tommy Emmanuel’s own personal specifi cations.

Using the Custom Shop facilities, Tommy hand-selected the Indian Rosewood for the back and

sides and the guitar’s neck and chose Sitka Spruce for the soundboard. This blend of timbers from around the world was selected to create the

unique tone that Tommy sought.

The Ebony fi ngerboard features his personally chosen Mother of Pearl Southern Cross and a block inlay of his appointed title of ‘C.G.P.’

(Certifi ed Guitar Player), which was bestowed on him by the late Chet Atkins.

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SOUNDBOARD“AAA Select” Grade Solid Sitka Spruce

BACK AND SIDESSolid Indian Rosewood

NECKIndian Rosewood

FINGERBOARDEbony – Bound in White

FINGERBOARD INLAYCGP and Southern Cross

BRIDGEEbony

HEADSTOCKIndian Rosewood with Kangaroo Inlay Bound in White

INNER BINDINGTriple Black Pinstripe

OUTER BINDINGWhite

SOUNDHOLE ROSETTEMother of Pearl

FINISHHigh Gloss Honey

MACHINE HEADSChrome Grover Rotomatic with Pearl Buttons

NUT AND SADDLEBone

CUTAWAYSoft

PICKUP SYSTEMAPMic

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Number 48A true refl ection of the quality and craftsmanship

that the Maton Custom Shop has to offer. The Number 48 has a striking appearance and is built to an 808 body shape to provide special presence

and clarity. Flamed Queensland Maple back and sides are a distinct feature of this model

complemented with a Sitka Spruce soundboard. A full bass response comes from careful tuning

of the top and back plates.

Queensland Maple may be readily available but the fl amed appearance of the timber used in the Number 48 is truly rare. This scarce timber was set aside by the Custom Shop luthier in order to

create this exceptional guitar.

The appearance is further enhanced by the mother of pearl Southern Cross inlay in the

fi ngerboard and the pinstripe neck stringer. Its unique timber blend combined with the passion

of its maker, leads to a guitar of exceptional tonal quality and unusual good looks.

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BACK AND SIDESSolid Flamed Queensland Maple

NECKQueensland Maple with Indian Rosewood Pinstripe

FINGERBOARD AND BRIDGEIndian Rosewood

FINGERBOARD INLAYSouthern Cross

HEADSTOCKIndian Rosewood Veneer


OUTER BINDINGIndian Rosewood

SOUNDHOLE ROSETTEIndian Rosewood and Redgum

FINISHHigh Gloss

MACHINE HEADSGold Grover Rotomatic with Ebony Buttons

NUT AND SADDLEBone

PICKUP SYSTEMAP5

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Sequoia Rose

Named after a Californian Redwood, which is among the world’s most beautiful and oldest

trees, this priceless guitar is truly one-of-a-kind. Brazilian Rosewood is used for the back and sides, with the extremely unusual looking

Redwood – Sequoia – used for the guitar’s face. Hand-selected Paua snowfl akes are used

on the fi ngerboard to add elegance to this guitar’s aesthetics.

It is the combination of the Sequoia’s unusual colour and resonant timber that renders

this guitar one for the collectors of rare and special instruments.

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SOUNDBOARDSequoia (Californian Redwood)

BACK AND SIDESSolid Brazilian Rosewood

NECKIndian Rosewood

FINGERBOARD AND BRIDGEEbony

FINGERBOARD INLAYPaua Snowfl akes

HEADSTOCKSequoia Veneer


OUTER BINDINGFiddleback Blackwood

SOUNDHOLE ROSETTEIndian Rosewood

FINISHHigh Gloss


NUT AND SADDLEBone

PICKUP SYSTEMAPMic

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Birregurra Creek

Birregurra Creek is an unusual guitar that the Maton Custom Shop built exclusively from

native Australian timbers. The face is made from Bunya, found in Southern Queensland, expertly

combined with Fiddleback Blackwood timber back and sides, from dense forests in the Otway Ranges in south western Victoria. Mulga, a tight

grained acacia that was once common but is becoming rarer in the Australia outback, is used

for the Birregurra Creek’s fi ngerboard and bridge.

Australiana continues in the Soundhole Rosette, which has intricate inlay work that uses hand selected pieces of Satinbox also found in the

Otways along side Victorian Blackwood.

Birregurra is a small town in the foothills of the Otway Ranges, near the source of the Satinbox

and Blackwood timbers used in this guitar.

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SOUNDBOARD“A” Grade Solid Bunya

BACK AND SIDES“AAA Select” Grade Fiddleback Blackwood

NECKBlackwood with Satinbox Stringer

BACK ZIPPERSatinbox with Pinstripe

FINGERBOARD AND BRIDGEMulga

FINGERBOARD INLAYSouthern Cross

HEADSTOCK“AAA Select” Fiddleback Satinbox


OUTER BINDINGSatinbox

SOUNDHOLE ROSETTEBlackwood / Satinbox

FINISHHigh Gloss


NUT AND SADDLEBone

CUTAWAYSoft

PICKUP SYSTEMAP5

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The AmazonianTimber that comes mostly from Central and

South America goes into Maton Custom Shop’s carefully honed construction of The

Amazonian guitar giving it a rare and exotic look. Brazilian Rosewood is selected for its back

and sides, while the neck is made from the dense hardwood, Honduras Mahogany. German

Spruce is renown for its tone and is used for The Amazonian’s soundboard where it creates a

clear, strong sound.

All of these timbers (whilst being the traditional tone woods of choice) are now in short supply,

making this guitar a once-in-a-lifetime opportunity to hear these classic tone woods in combination.

This is one of the most responsive guitars ever produced by Maton and would suit an expressive

fi ngerpicking stylist down to the ground.

Attention to detail is refl ected in the smooth fi nish and presentation of this guitar.

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SOUNDBOARDGerman Spruce

BACK AND SIDESBrazilian Rosewood

NECKHonduras Mahogany

FINGERBOARD AND BRIDGEBrazilian Rosewood

FINGERBOARD INLAYPearl Dots

HEADSTOCKBrazilian Rosewood Veneer


OUTER BINDINGBrazilian Rosewood

SOUNDHOLE ROSETTEBrazilian Rosewood

FINISHHigh Gloss


NUT AND SADDLEBone

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Tribal TattooThis guitar encompasses fi nely detailed and

intricate inlay work on the fi ngerboard using Rock Maple inlaid into Indian Rosewood. The design

is a combination of Celtic shapes and a Yin Yang symbol that set apart its mark of distinction. The headstock is Mastersound style that was

originally used for Maton electric guitars.

Its back and sides are constructed from Indian Rosewood and the face is done in the pale

elegance of Sitka Spruce. This combination provides a big, punchy dreadnought tone while

the Honduras Mahogany neck adds warmth and playability.

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BACK AND SIDESIndian Rosewood


FINGERBOARD AND BRIDGEIndian Rosewood

FINGERBOARD INLAYRockmaple Tribal Tattoo

HEADSTOCKMastersound with Indian Rosewood Veneer


OUTER BINDINGRockmaple with Indian Rosewood Pinstripe

SOUNDHOLE ROSETTEIndian Rosewood and Mother of Pearl

FINISHHigh Gloss

MACHINE HEADSChrome Grover Rotomatic with Pearl Buttons

NUT AND SADDLEBone

CUTAWAYSoft

PICKUP SYSTEMAP5

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The Bronzed Aussie

This beautifully rich guitar with a Redgum map of Australia inlaid on the Ebony fi ngerboard has

turned the Bronzed Aussie into a collector’s item. Victoria’s Cape Otway region contributes

the Fiddleback Blackwood for the back and sides while Sitka Spruce has been used for the face.

The Bronzed Aussie is a supercharged version of our popular ‘Australian’ series.

A high gloss fi nish with several coats of lacquer give a burst fi nish that contributes to the crisp

sparkle of this classic’s look, feel and sound that is worthy of the iconic Bronzed Aussie of

another era.

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SOUNDBOARD“A” Grade Solid Sitka Spruce

BACK AND SIDES“AAA Select” Grade Fiddleback Blackwood

NECKBlackwood

FINGERBOARDEbony – Bound in Redgum

BRIDGEEbony

FINGERBOARD INLAYRedgum Map of Australia

HEADSTOCKBlackwood Veneer Keyhole


OUTER BINDINGRedgum

SOUNDHOLE ROSETTERedgum

FINISHHigh Gloss Burst

MACHINE HEADSGold Grover Rotomatic

NUT AND SADDLEBone

CUTAWAYSoft

PICKUP SYSTEMAP5

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Waiata Ataahua

Only a trip to New Zealand by Maton’s Custom Shop luthier could have inspired the Waiata

Ataahua guitar. He was touched by the artistic tradition of New Zealand’s Maori people and he

pays tribute to them with the inclusion of striking inlaid images on the fi ngerboard.

The fl oral emblem of New Zealand, the elegant fern, appears on the bridge and streaky Ebony

is used for the back and sides and Sitka Spruce for the face. This combination provides a

full, punchy sound with glassy upper partial harmonics.

The neck is made from decorative and dense Honduras Mahogany and a unique Mastersound

headstock with ebony veneer make for a distinctive neck that adds tonal warmth and

terrifi c playability. A fi tting tribute to the land of the long white cloud.

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BACK AND SIDESStreaky Ebony


FINGERBOARDMaori Art – Rockmaple / Ebony / Jarrah

BRIDGEEbony Fern Leaf

FINGERBOARD INLAYMaori Art Bound in Black

HEADSTOCKMastersound with Ebony Veneer


OUTER BINDINGBlack

SOUNDHOLE ROSETTERockmaple / Ebony / Jarrah

FINISHSuper Satin

MACHINE HEADSChrome Grover Rotomatic with Ebony Buttons

NUT AND SADDLEBone

CUTAWAYSoft

PICKUP SYSTEMAP5

Maton Guitars6 Clarice Road, Box HillVictoria 3128 Australia

P: +61 3 9896 9500F: +61 3 9896 9501

W: www.maton.com.auE: [email protected]

MADE IN AUSTRALIA

maton catalogue custom shop

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