Press

 

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GITARRE & BASS, MAR 2012

 

 "Das Konzept einer zweiten Produktlinie hat der finnische Hersteller bravourös realisiert. Mit der verschraubten Kombination aus Flaxwood-Hals und Erle-Body kommt er nicht nur einen Schritt auf die Gitarristen zu, die modernen Materialien immer noch mit Skepsis begegnen, sondern kann auch sein Preissegment deutlich nach unten schrauben. Die Flaxwood Hybrid ist eine moderne Version der guten alten Strat, liefert die typischen fünf Sound-Varianten und legt sogar noch zwei weitere drauf, die mittels Blend-Regler abgestimmt werden können. Klanglich darf also aus dem Vollen geschöpft werden. Top verarbeitet und höchst komfortabel trag- und bespielbar empfiehlt sich die Gitarre als gleichermaßen robustes wie zuverlässiges Werkzeug für den Working Player."

translated into English:

"The concept of a second product line was superbly mastered by the Finnish manufacturer. with the bolt-on combination of Flaxwood-neck and alder-body he not only approaches those guitarists who are still skeptical about modern materials, hut also manages to lower his price segment considerably. The Flaxwood Hybrid is a modern version of the good old Strat, which not only provides for the typical 5 sound variations, but adds two more variations which can be adjusted by blend control. Thus, players may draw on abundant sound resources. Excellently manufactured and most comfortably to handle and to play, this guitar can be recommended both as a robust and a reliable tool for the working player.

 

 

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AMAZONA.DE, OCT 2011

 

Amazona.de reviewed the Flaxwood hybrid series 3SC-T model:

"Was für ein Sustain! Egal worauf man als User seinen persönlichen Focus legen mag: Das ellenlange Schwingungsverhalten, welches die [3SC-T] an den Tag legt, ist exorbitant! Ob Singlenotes oder Akkordspiel, die „Langlebigkeit" der angeschlagenen Töne ist weit über dem Durchschnitt einer klassischen Massivholzgitarre. Dabei legt das Instrument durch ihre verwendeten Baustoffe eine ungemeine Spritzigkeit an den Tag. Das Instrument „klebt" geradezu an den Händen des Musikers und verfügt über eine extrem schnelle Tonansprache."


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• Verarbeitung
• Preis/Leistung
• Konzeption
• Werkstoff
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translated into English:

"What a great sustain! No matter what your personal focus is as a user: the prolonged sustain with which the [3SC-T] performs with is simply outstanding! Whether you play single notes or chords, the "consistency and stability" of the notes that you strike are by far above the equivalent of a classical guitar built from solid wood. Yet, the instrument displays an extraordinary liveliness which is due to its construction materials. The instrument virtually "sticks" to the musician's hands and delivers an extremely fast responsiveness."

Plus
• tone / sound
• workmanship
• price / performance
• conception
• material
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GITARRE & BASS, MAY 2011

 

"Ich bin von der Voima schwer angetan, denn selten habe ich ein derart stimmiges Instrument in Händen gehabt. Die beeindruckenden Schwingungs- und Klangeigenschaften des Compound Materials Flaxwood, das ergonomische und zudem ansprechende Design, das geringe und dennoch ausgewogene Gewicht, der hohe Spielkomfort, die exzellente Hardware, das gut funktionierende Vibrato, das umfangreiche Angebot erstklassiger Sounds und die vorbildliche Verarbeitung attestieren die überaus gelungene Umsetzung des innovativen Konzeptes. Unter Berücksichtigung der immensen Entwicklungskosten (vor allem allein der Gussform) und der hochwertigen Hardware erscheint der Preis verleichsweise günstig."

translated into English:

"I was really taken by the Voima, because I rarely had put my hands on an harmonious instrument such as this one. The impressive vibration and sound characteristics of the compound material Flaxwood, the ergonomic and in addition attractive design, the light yet balanced weight, the high ease of playing, the excellent hardware, the efficient vibrato, the wide range of first-class sounds and the exemplary workmanship certify the extremely successful realisation of the innovative concept. Taking into consideration the immense cost of development (in particular for the mould) and the high-class hardware, the price seems comparatively favourable."

 

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PREMIERGUITAR.COM, FEB 2011

 

The Flaxwood 3S-T Haarii Special is an uncommonly versatile semi-hollow incorporating classic sounds and modern playability. It is solidly built and a joy to handle. While its unusual construction materials will not appeal to some, players who are unafraid of new guitar design will find an excellent companion in the Haarii.
 

Buy if...
you're looking for classic single-coil and semi-hollow sounds in a single, high-performance guitar.
Skip if...
you'd be troubled by playing a guitar that isn't made of traditional woods.

Rating...
4/5

 


 

GuitaristUK_CCCustom

 

GUITARIST / MUSICRADAR.COM, FEB 2011

 

The CC-Custom has a big acoustic ring, feels lively and sits comfortably on the strap. Amplified, what emerges is a very clean, clear tonality. It's not sterile, but instead offers plenty of highs and lows and a snap to the attack that actually leans more towards Fender than a darker, duskier Gibson semi.

The difference between the characters of the bright bridge-placed soapbar and the smoother attack of the Candy Bar works well on clean amp tones: the Candy Bar retains that clarity in the mids and lower mids, which does enhance more complex, lower position jazz chords.

As we edge up the wick a bit the open, ringing character creates some very usable crunch tones, again more Fender-y sounding and ideal for arpeggiated parts. But there's a lot of high-end, which means you'll have to make some amp or guitar tone control adjustments, especially if you're switching between guitars - the contrast between this and an albeit much lower-priced PRS SE Semi-Hollow with dual P-90s is considerable.

...we can't help applauding the technical endeavour that's gone into the design and construction of this instrument: the result is an extremely viable guitar with plenty to offer the discerning player who wants or needs to augment their collection.

Verdict
Flaxwood proves that guitars don't need to be made of wood. The CC Custom is happiest in cleaner areas, but the firm's broad range means there's something for all.

MusicRadar rating: 4/5

 

 

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GITARRE & BASS, JAN 2011

 

"In dem Flaxwood-Konzept steckt eine Menge Entwicklungsarbeit, Herzblut und Unternehmerischer Mut. Die konsequente Realisierung eines solch anspruchsvollen Projektes verdient unsere unbedingte Hoch-Achtung. Das Modell Liekki aus diesem besonderen Baustoff Flaxwood ist auf der Grundlage eines modernen Double-Cutaway-Designs in so gut wie jeder Hinsicht präzise auf den Punkt gebracht. Optische Eleganz, beste Ergonomie und sonore elektrische Kraft verschmelzen zu einem absolut professionellen Arbeitsgerät, das in seinem Praxiswert kaum zu schlagen ist. Es ist höchst stabil, unabhängig von Temperatur-oder Wetterschwankungen, liefert in jeder Situation verlässlich stabile Klangergebnisse und ist für das große Paket an Leistungen fast schon günstig zu haben. Schon unglaublich, was diesen Finnen in den langen dunklen nordischen Winternächten so alles einfällt. Hut ab!"

translated into English:

"There is a quite some R&D work, passion and entrepreneurial courage in this Flaxwood concept. The persistent way of accomplishing such a demanding project deserves our full respect. The model Liekki made of this special Flaxwood material features a modern double cutaway design, hitting the mark in virtually every respect. Elegant appearance, best ergonomics and sonorous electrical power merge in an absolutely professional equipment, which is almost second to none when it comes to road capability. It is highly rugged, stable to changes in temperature or climate, and reliably performs in any kind of situation with steady sound results. Considering this large package of benefits, it is almost a bargain. It's quite amazing, what these Finns come up with during their long Nordic winter nights. Hats off!"

 

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GITARRE & BASS, DEC 2010

 

"Die Flaxwood Laine ist eine mutige Gitarre. Angelehnt an den Fender-Klassiker mit den drei Singlecoil-Pickups treibt sie dieses Erfolgskonzept in extreme Bereiche vor - und das macht sie so gut, dass sie neue Türen damit öffnet und nicht mehr nur als Kopie oder Variante des US-Klassikers durchgehen kann. Mehr Brillianz, mehr Volume, mehr Attack, mehr Bässe, mehr Sustain - das ergibt eine Hyper-Version einer Gitarre mit Doppel-Cutaway und drei Singlecoil-Pickups, die die einen ver-schrecken, die anderen verzücken wird. Die Kombination von Flaxwood und Lipstick-Pickups stellt eine brisante Mischung dar, der wohl nicht jeder gewachsen sein dürfte."

translated into English:

"The Flaxwood Laine is a bold guitar. Following the style of the Fender classic with the three singlecoil pickups, it advances this success concept into extreme fields - and by doing this so well, it opens up new doors and can no longer be considered as just being a copy or variation of the US classic. With more brilliance, more volume, more attack, more bass, more sustain - this is a hyper version of a guitar with double cutaway and three single coil pickups which you will either become ecstatic or scared off about. The combination of Flaxwood and lipstick pickups is a hot mixture which probably not all the world will be able to cope with."

 

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CHRISTIAN MUSICIAN

 

"The Flaxwood Liekki 290-T is a versatile guitar that plays & sounds amazing... and it won't ever be affected by humidity! This is [a] great guitar, sturdy enough for the road and tonally rich for the studio. Plus you won't find a better playing neck anywhere. If you are looking for a unique high-end guitar, check out Flaxwood's website & find a store near you to play one. This guitar WILL surprise you!"

 

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MUSICPLAYERS.COM

"The result of this technological innovation is fantastic, and Flaxwood guitars are the first alternatives to traditional wood that we'd be happy playing. If you haven't found guitars made with carbon fiber bodies to be your thing, you should definitely give Flaxwood a chance. The 3S-T [Haarii Special] bears more in common tone-wise with a traditional wood guitar than other alternative materials. But even this commentary isn't entirely accurate as it might lead you to think of the guitar as sounding like something different from wood. Instead, just think of Flaxwood as another premium electric guitar company who just happens to use eco-friendly building materials."

"The 3S-T plays like butter and sounds like wood!  The neck is fantastic, and its natural, satin-like finish felt vaguely similar to a carbon fiber neck. Because the Haarii Special is made from a mostly synthetic material, the guitar is not subject to moisture-related variances that can drive guitarists crazy."

"The semi-hollow 3S-T Haarii Special we tested delivered a wide range of tones that included familiar Strat-like tones as well as some 335 jazz goodness thanks to its interesting combination of single coil and P90 pickups. The guitar was light and comfortable to play, with a fantastic neck that combined classic comfort with modern playability. If you're a fan of Strat tones but want a guitar with a little more of a unique vibe, the 3S-T is definitely worth checking out (as are all the Flaxwood models), though this particular model isn't appropriate for metal and other high-gain players."

 

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PREMIER GUITAR, DEC 2009

 

"I have played guitars many times the cost of these that can't touch them for playability, fit or finish. The [Flaxwood Liekki's] sound is good and versatile, and the neck is probably the best feeling neck I've ever had my hands on."

 

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TONE QUEST REPORT, JUN 2009

 

"We too have often wondered how much longer the guitar industry - an industrial dwarf compared to global companies producing consumer paper products - can continue to rely on the harvest of mature hardwoods used in the manufacture of high-quality guitars. Just as C.F. Martin resorted to 3-piece rosewood backs in its D35 and D45 models as the supply of Brazilian rosewood diminished, you'll know the supply of mahogany is waning when you begin to see fewer 1-piece bodies... These factors all contribute to our feeling that the Flaxwood guitars are a great idea whose time has come, and best of all - they work very well as musical instruments."



"With their arched top, hollow back design and composite ‘resonator' back cover, both the Rautia and Liekki behave like more controllable semi-hollow body guitars, with harmonic feedback emerging and chasing specific frequencies at high volume levels. You'll dig the responsive acoustic nature of these guitars because unlike a Gibson 330, for example, uncontrollable feedback doesn't overwhelm the Flaxwoods unless you're playing at extremely high gain and in close proximity to the amp."

"...the Flaxwood composite neck does an exceptional job of transmitting string vibration to the body of the guitar - in fact, you can merely rub your thumb along the back of the neck and hear the friction amplified through the back of the body."



"Flaxwood deserves credit for having developed and designed an innovative new technology in guitar building that truly works rather than coming off as a mere gimmick."

 

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PREMIER GUITAR, JUN 2009

 

"Previous non-wood guitars I have played have seemed to me to go with the idea that the guitar should be as resistant to vibration as possible, theoretically to maximize sustain. The Liekki I found to have a pleasant, alive vibration to it which feels quite natural and wood-like, and yet, it has a sustain like a piano, incredibly smooth in response."

"The Liekki will give you a broad palette of sounds, from a sweet Lenny Breau type of jazz sound to a Tele-esque twang. Click on some distortion, and you can go from roots slide to death metal and anywhere in between."

"The Liekki comes out of the case ready to hit the stage, and I am finicky on this topic. I don't think that in my 40 years of guitar picking I have had more than a handful of guitars that didn't at least need the action worked a bit, but this one didn't - perfect set-up and intonation from the git go."

"I have played guitars many times the cost of these that can't touch them for playability, fit or finish. The sound is good and versatile, and the neck is probably the best feeling neck I've ever had my hands on."


Rating 5.0 and PG Premier Guitar Premier Gear Award, June 2009

 

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VINTAGE GUITAR, MAY 2009

 

"Plugged into a variety of amps, the Liekki performed like a top-notch solidbody."

"Flaxwood claims the physical properties of their guitars make neck movement due to temperature and humidity changes pretty much impossible, and after leaving our test guitar in a very cold, unheated room for a week, it was in perfect tune."

"The Flaxwood could be excellent for the gigging axeman who knows that the vagaries of stage, car, and guitar-case environments can wreak havoc on a guitar's neck, intonation, and tuning. If Flaxwood finds a niche, they could make their mark as "that guitar that won't go out of tune."

 


 

GUITAR BUYER, APR 2009

 

"We know what we were expecting when we plugged in the Flaxwood Vasara for the first time, and it's probably not far from what you're thinking right now. Synthetic material and active pickups? This has got to sound thin and artificial, right? In fact, this assumption couldn't be further from the truth."

"There's a raunchy, big yet cutting tone from the bridge unit that covers everything from a light, classic-rock crunch right up to a massive metal thud. The neck unit is pretty and warm when played quietly and cleanly, yet toughens up with overdrive in that flutey manner that always suggests Hendrix-style chords and bass runs. However, what is special about these tones is that they're all so much more ‘there' than what you'd get from many conventional guitars. It's a rather special kind of definition, where everything seems that much better behaved and right for the job. Low notes ring out without harmonics flapping about, while the mid-range is full but not over-focused and the top is clear, without a hint of sharpness."

"It is almost as though Flaxwood has designed out the less desirable tonal qualities of wood."

"If the electric guitar didn't exist and you were designing it from scratch in 2009, you might well decide that injection-moulded Flaxwood was a superior way of going about it than all that messy and unpredictable business with wood. The Vasara's great playability and polished, versatile sound mean that it grows on you very quickly. The fact that it's less than conventional becomes irrelevant after a while. The bottom line, however, is that the Vasara looks good, plays good and sounds great. We like it."


 

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GUITARIST, FEB/MAR 2009

"The [Liekki's] sound is fat and focused, as you'd expect from soapbars, but the sustain is significantly more than you'd hear from a Les Paul Junior... even dialing the amp knobs randomly, we couldn't find a bad tone. [...] The flaxwood material (its composition and lack of dead spots) seems to maintain the resonance no matter where you play along the Liekki's neck. What a great feeling to hit a note up high and have it actually ring out for a time. [...] If you're looking for that middle ground between Stevie Ray and Gary Moore, your search won't start with the Liekki but it might just end with it."

"The Flaxwood Äijä is a serious rock guitar... like the others, this one resonates acoustically (and richly) from the body to the very top of the headstock. [...] The [Äijä's] cleans sounds were bold and in-your-face and the drive sounds were wicked... This guitar loves pedals... actually, we couldn't find a bad sound. [...] If you're a Recto player (you know who you are!) you need to check this one out."

"Plugged into an old Fender Deluxe Reverb, the tone of the Laine had ‘that sound' right away - and with plenty of juice... we were surprised by the range of tones and then when we started messing with the knobs, out popped a few more. [...] The Laine's clean sounds are superb, with plenty of sustain and body, even up the neck. Into the pedals or the Boogie lead channel, there's heaps of dynamic range and the body seems to respond accordingly - not just the electronics. [...] [The Laine] is a top end guitar that will last a lifetime and beyond."

 

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GUITAR PLAYER, JAN 2009

"The extended evaluation period allowed me to really get to know this guitar. Throughout months of abuse, the Laine proved to be indestructible."

"...the guitar maintained its tuning integrity after shivering in my basement for weeks without being touched, and it also stayed relatively in tune during hot, sweaty bar gigs, and after enduring aggressive bends and massive tremolo jacking."

"...a zingy, articulate voice that works well with high-gain tones and imparts a stout, crystalline snap to clean timbres. In fact, the Laine almost seems to explode out of your amp - I likened the sound to a jet catapulting across the deck of an aircraft carrier. The effect is present, clear, and ferocious, whether you rock hard with a Marshall or a Mesa/Boogie Rectifier, jangle with a Vox, or go all bluesy with a Fender Deluxe."

"If you want to rage out of a band mix, save a few trees, and start your tonal explorations with a sonically unique palette, the Laine is a brilliant option."

 


 

GUITAR BUYER, JUL 2008

"Although the [Flaxwood Liekki] produces some very credible distorted tones, with plenty of P-90-style grit and bite, it's in the clean department that it really excels. There's plenty of detail and an overall evenness to the frequency range that flatters complex chords and Andy Summers-style jazz-tinged riffs."

"The Flaxwood company has succeeded in building an electric guitar from environmentally friendly materials that plays as well and sounds just as good as (if a little different from) a traditional wooden instrument."

"We reckon that companies like Flaxwood are to be commended for pushing the envelope and exploring new materials and methods of construction."

 

AustralianGuitarMagazine

 

AUSTRALIAN GUITAR MAGAZINE

"...Flaxwood have responded to both environmental and instrumental concerns by developing a process for creating a synthetic tonewood that may well change the way guitars are constructed in the 21st century."

"Technology without playability is worth the sum total of bugger all... and for a guitar that will retail for around $3600 in this country [Australia], a lot of playability is required. It doesn't matter how environmentally aware or what sort of future-fetishist you are, a guitar has got to speak to you before you go laying down that sort of money to make it your own. Thankfully, the Flaxwood Liekki is a damn fine player."

"The guitar is exceptionally well balanced, and there is not a single issue I have with it physically. Similarly, there are no concerns about the way this one sounds. From the minute you pick it up and play it unamplified, you suspect that this one will sound special."

"If this were not both a technological and environmentally sound innovation, yet still possessed the tone and playability that it does, we would still be absolutely mad for it. Regardless of its design and construction, this one is just a stellar electric guitar."

 

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DESTROYALLGUITARS.COM

"Flaxwood Guitars of Finland... have made what is quite possibly the most significant guitar innovation in a generation."

"Flaxwood has come up with a patent for something many thought impossible: to create a resonant, warm sounding, environmentally friendly raw material (no rare hardwoods are used) that can be used with modern, mold-injection technologies, and at the same time, produce instruments with great playability and gorgeous, wood-based tones."

"The end result is a truly remarkable "boutique" quality instrument with a much more affordable price point."

"Great tone, great playability, great feel and look, and a consistency from guitar to guitar that was simply not possible before Flaxwood. DestroyAllGuitars is thrilled to be representing such revolutionary and evolutionary instruments."

 

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20th CENTURY GUITAR

"The hollow-bodied Liekki is akin to a Formula One race car with its sleek, compact and efficient body design accented by graceful contours."

"...incredible acoustic resonance and sustain. Hit a note anywhere on the Flaxwood neck and you can feel the energy being transmitted through the entire guitar."

"The Flaxwood Liekki embodies the Flaxwood philosophy of classic vintage elegance with modern design. Combining new school technology with old school assembly by a team of experienced and skilled luthiers makes the Liekki a real winner."

 

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GUITARMART.CO.UK, DEC 2007

 

"What makes Flaxwood guitars stand out from the crowd is that they produce a whole range of high-end guitars using a composite material that hold their own when compared to the best tonewood guitars on the market..."

"...Flaxwood guitars like the Liekki shouldn't be regarded as 'sound-alikes' for more traditional guitars, but should be judged in their own light. In this respect the flawless build quality and unique voice - which can in part be attributed to the composite construction - set these guitars apart (not to mention the Liekki is fitted with a resonator back plate)! This in itself is enough to make them interesting to anyone who is looking to expand their sonic horizons."



"In conclusion I think Flaxwood really have done their homework - on those long cold arctic nights! While their guitars do not look too startling different, which will please a very conservative guitar buying public, the construction materials and process are potentially years ahead of the competition."

 

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GRANDGTRS, 2/2007

"Guitarists are known to be a bunch of conservative people, which is not necessarily a bad thing but invariably leads to the fact that innovations are met with suspicion even though the advantages might be obvious. Many guitarists tend to happily stick with the well-known flaws of good old designs. Yet with Flaxwood things might turn out to be different."

"The theory to enhance wood without having it lose its natural warmth works out just fine. The [Flaxwood Liekki] vibrates as if played for years. The tone is open, with virtually no compression."

"High quality does not always mean high-priced... a fair deal to explore ways in music far beyond the mainstream."


- translated by Alexander-Lars Dallman