The Guitar Sessions staff had a field day when Tony Baldwin, CEO and designer of Foggy Mountain Guitars, graciously sent us review samples of the three models in his Mason Williams Signature Series.

All three are finely-crafted instruments that do what they promise to do, offering a lot of bang for the buck and excellent playability. With a non-adjustable rectangular carbolic steel trussrod in each of these guitars, you can count on the necks being stable for a long time to come. All models are finished in high-gloss lacquer and come with a hardshell case and a limited lifetime warranty. The factory setup with Tony's own adjustments was somewhat distinctive but totally playable on all three models.

The three guitars in the Mason Williams Signature Series photographed at the CAAS convention last July. Left to right: The "Classical Gas" Commemorative Model, the Concert model, and the Mason Williams Signature Model.

Mason's signature on the 45 rpm record label that graces the interior of the "Classical Gas" Commemorative Model.

With slight variations, all models have what Tony calls "the Mason Williams neck profile"- i.e., a very thin, relatively square neck profile with just 20 mm from the top of the fretboard to the back of the neck. Even with the standard 2" fretboard width at the nut, the thin profile will appeal to steel-string players. My own classical guitar from Spain has a square neck profile with the corners somewhat more rounded than the "Classical Gas" Commemorative model.

Surprisingly, it is the entry-level Mason Williams Signature Model that is the most impressive overall value as we found ourselves wishing its features might be incorporated in the higher-priced Concert and "Classical Gas" models.	Mason Williams' signature is appropriately inlayed in mother of pearl at the 12th fret of the Signature model.
Detail of Mason Williams' signature.	Rosette and label of the signature model.

The Signature model has a solid spruce top, mahogany back and sides, built-in electronics featuring a very cool and totally functional tuner, and a pick-up system with 'Hi' and 'Lo' Z (XLR hi-impedance and ¼" low-impedance) output jacks. The entry-level model is currently the only guitar in the line with the built-in tuner and electronics, and naturally, these are two of the features that our staff desired in the higher-priced models.

The tuner and pickup controls are installed on the side of the upper bout of the signature model.

The tuner needle centers when the open string is in tune.

Like other electronic tuners, the onboard tuner on the Signature model does not respond to ambient noise but rather to the vibrations of the string and instrument itself. At home in your practice room or onstage, even with the slightest attack, this feature makes tuning to alternate and open tunings and back again- a breeze.

The unplugged Signature model plays at a respectable volume with excellent intonation and evenness of tone throughout the fretboard. It would make a great performance guitar, sturdy enough to withstand the rigors of the road and not so costly that one would constantly worry about it. Then too, you can play it with a combo with electric and percussion instruments, balancing the volume in your monitor and the house speaker system.

By contrast, the Concert and “Classical Gas” models we examined were designed for the professional player and collector respectively, the assumption being that the buyer would either play them through a house system or have their own favorite aftermarket electronic packages installed.

In a last minute update, Toney Baldwin revealed that feedback from retailers and consumers has convinced him to install electronics on the Concert and “Classical Gas” models as well. The electronics package will increase the retail price of each of these models by $160.00.

While the Signature model contains a pickup with piezo technology, Foggy Mountain chose a B-Band system with both under-saddle and interior contact pickups for the Concert and Classical Gas models. This particular B-Band system was chosen specifically because it does not use piezo crystal technology; instead, thin Mylar strips with millions of microscopic gas bubbles offer a sound that is very close to microphone quality.

The Concert Model (Front)	The Concert Model (Back)
The Concert Model in its hardshell case.	Armrest detail

Tony Baldwin calls this guitar the 'tuxedo' of the line as it has garnered so many positive comments from professional players. I first saw the Mason Williams Series at the 2007 Chet Atkins Appreciation Society (CAAS) Convention in Nashville. Shortly afterward, I learned that Branson, Missouri theater owner and showman Jim Stafford, who had seen the Foggy Mountain guitars at the same venue, will be endorsing the Foggy Mountain Concert model.

Headstock front.

Headstock side.

And no wonder! This is an exquisite instrument with select solid woods, a single cutaway, and abalone-trimmed top and rosette. The solid cedar top, and rosewood back and sides give this instrument a big, complex sound that would satisfy even the most demanding player. I should also mention that this instrument has a solid ebony fretboard and a nice rosewood armrest that keeps the player's forearm from touching the soundboard and so facilitates additional resonance.

The "Classical Gas" Commemorative Model as displayed at CAAS with the Concert Model at left.

The "Classical Gas" model in its hardshell case.

The third model in the Mason Williams Signature Series is an exact replica of "Cordova" model classical guitar by German manufacturer Oscar Teller; this is the guitar that Tom Smothers gave to Mason Williams, the one Mason used in writing "Classical Gas." As the tune was released in 1968, only 1,968 copies will be manufactured. (See "Fingerstyle" column in the September 2007 issue of Guitar Sessions.)