Fifteen years after discontinuing its initial run of CFS guitars, Yamaha has re-introduced and upgraded its line of compact acoustics in the form of the new CSF1M and the CSF3M, which is on review here. They have similar features, including a solid Sitka spruce top, with the primary difference being the CSF3M also features solid mahogany back and sides and mahogany body binding. The basic design goal is achieving a full, detailed sound from a parlor-sized instrument.
The CSF3M is classy looking, with modest appointments. Other than an abalone soundhole inlay and a rather unique boat-shaped bridge, its snazzy appearance is all about quality woods. The flowing amber waves of its solid mahogany back and sides are particularly aesthetically pleasing, and the lighter-colored mahogany binding creates an almost seamless connection to the slightly tan-colored “vintage natural” stain of the Sitka. Its shape is simultaneously sexy and super ergonomic.
It certainly feels cozy to place the light little Yamaha on your lap, tuck it into your chest and under your arms, and give it a solid strum with a pick. The sonorous, vivacious sound of strumming that first open E chord truly opened my ears. Right away, it’s obvious that this travel-friendly instrument was not constructed in the way so many similar-sized acoustics are, meaning that the construction isn’t too heavy for the body. Yamaha used a new top bracing design that’s scalloped, with a forward-shifted X pattern for maximum resonance, and it seems to have made a difference. The CSF3M sounds less boxy than many small acoustics, and it’s evenly balanced from the low strings to the high strings, with a punchy presence across the board. It’s no baby, either. You can wail away without worrying about the tone compressing. While its low end is not going to