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We are happy to offer you a Lowden right out of their specialty shop. This O38 Custom brings some heavy hitters to the wood table: Brazilian Rosewood back and sides, Engelmann Spruce top, and an elegant 5-piece Mahogany neck. Not impressed? Consider the fact that this guitar was built in 1994: that Rosewood and Spruce has opened up nicely and gives the guitar an enveloping warmth. In addition to a perfect setup making this Lowden a breeze to play, it also means the guitar projects exceedingly well, without washout. In fact, the guitar responds very well to Fingerstyle playing, but the tone doesn’t become distorted when flatpicked–chords, solos, bass lines maintain a pianistic articulation across all registers. Plus, there’s a graceful leaf abalone inlay on the fretboard, complementing the softer curves of the upper and lower bouts. This is a beautiful workhorse: a guitar for every application.

This Beautiful Gibson Amber burst J-45 hits all of our vintage buttons. The time honored combination of mahogany and spruce gives this little sweetheart a great growl perfect for flatpicking. The finish has aged and crackled to a wonderful effect all over the body; The color of the amber burst is sweet and mellow. If you are looking for a great vintage Gibson, this is it!

Looking to build an alternative to modern 6 string flattops, Martin Keith took his years’ experience working with Joe Veillette’s shop and applied it to a synthesis of flattop and archtop design: the Auriole. These are big guitars with a great, balanced tone and crisp articulation. Keith achieves this with a wide fan braced Sitka Spruce top, radial braced Curly Maple back, and a Mahogany neck with carbon fiber core (rendering the neck sturdy and lightweight). Add to that a zero fret on the Katalox fretboard and a fully adjustable neck, courtesy of the included allen key, and you have a robust instrument capable of performing equally well in a variety of applications. The Auriole is definitely a flatpicker’s heartthrob.

The 2015 Charis Music Box performs exactly as its name implies: it keeps singing, all of its own accord. Bill Wise’s steady hands have teamed up with the artistic eye of his daughter, Rebecca Wise, to produce a startling feat of inlay across the guitar’s body and neck in the form of cogs, nuts, bolts, and keys. Bill picked out a figured Brazilian Rosewood set for the back and sides and a uniquely colored Cedar top for a lush, incredibly complex tonal palette. Every inch of this guitar resonates with the individual properties of each of so many different materials–and the result is orchestral, grand, absorbing. The Music Box will eat up all of your favorite altered tunings and still maintain Wise’s characteristic articulation and balance. Moreover, the 13 fret design renders so much sound into a slightly smaller, more intimate package which is effortless to fret. Comes wrapped up safe and sound in a Calton case.

Other keywords: jim olson, charis guitars, fingerstyle, fingerpicking, open tuning, art guitar, 13-fret, gotoh, arm bevel, koa, guitarbuilding

Here’s an additional demo with our own Al Petteway when we first had this lovely instrument: https://youtu.be/8-8FedBlMaU

Anthony Ennis‘s 2015 Unibody ups the ante yet again, this time employing a rare and exotic Paduak set for the back and sides. Add to that a stunning headplate of Curly Maple and matching trim on the neck, and the wooden rosette with inset abalone circles in a Carpathian Spruce top, and you find yourself in the presence of a jaw-dropping guitar. Of course, Ennis‘s trademark Unibody design also sets it apart. The overall tone is deep, and the middle registers are especially powerful. The bolt-on neck has a pleasant low profile to it, and is easy to navigate.

Ben Wilborn has done it again: he’s built a strong, articulate dreadnought which blows any other guitar in the price range right out of the water. Let’s talk specs: Brazilian Rosewood back and sides, Western Red Cedar top, Curly Maple bindings, Wilborn‘s characteristic diamond appointments. You simply can’t find a guitar for $5,000 which has so much going on under the hood–with the excellent craftsmanship of a luthier like Wilborn. The fit and finish is excellent here; smooth as silk.

This guitar is amazingly light, and it practically begs for you to play fast passages with it. The soundport is excellent for getting automatic feedback, and the Western Red Cedar top warms up the low-end of this dreadnought, so the tone is incredibly balanced. Wilborn‘s aesthetic choices, from the wooden pickguard to a scalloped bridge (which is gorgeous and comfortable for the palm, for a rest or for damping), are in a word: elegant. This guitar comes with an original Superior hardshell case.

Here’s a demo with our favorite guitarist on the mount, Al Petteway: https://youtu.be/mu8imQN7Fns.

What happens when you put one of the world’s foremost acoustic flatpickers and a present day grand master of American guitar building in the same room? A little something like the Tony Rice signature model from Santa Cruz Guitar Company. Richard Hoover and Tony Rice began collaborating on a guitar for Tony as early as 1978, and by 1989 the Tony Rice model was born: Brazilian Rosewood back and sides, Sitka Spruce top, 25.4″ scale, 1 11/16″ nut.

Santa Cruz later split the model into two versions, the Tony Rice and Tony Rice Pro, but this original from 1989 has matching specs to the upgraded version. The top has tinted to a sexy amber, and after nearly 30 years of music tucked away between its braces this SCGC Tony Rice is fully opened up and packs a wallop (or two) across the registers. Solo lead work in the style of this guitar’s namesake sound crisp and clear, with a punchy fundamental, and various chord voicings for accompaniment sound rich but articulate all across the fretboard–intonation is top-notch. We’ve just brought this piece of Bluegrass glory back to peak playing condition, too, so it’s ready to keep making music for another 30 years at least! The saddle has lots of height, and the setup is dialed in like a machinist’s caliper. Interested? Give us a ring!

Check out our additional demo with our very own Al Petteway: https://youtu.be/DnFazb8bx8M

Continuining in their tradition of excellent Carbon Fiber instruments, Emerald Guitars’ 2015 X7 Opus Black is a powerhouse in a petite package. As loud and articulate as wooden-bodied guitars twice its size, the X7 Opus has a bright, punchy tone with great sparkle in the middle register. The smooth finish on the 14 fret neck feels great to the touch and makes playing a breeze. The upper bout mounted soundhole brings the instrument’s voice right to your ear, and (of course) the all Carbon Fiber construction guaruntees that you’ll be playing in tune come rain or shine. This guitar comes with a well-padded Emerald Gig Bag.

Lowden’s RT Signature Model combines the craftsmanship of Lowden guitars with the discerning requirements of the 1991 Orville H. Gibson Award winner, famed British guitarist Richard Thompson, to produce a top-notch instrument with some interesting style. The back and sides are gorgeously figured Ziricote and are combined with a Red Cedar top for lots of sustain and warmth, and the F35 body is light with an attractive waist bound in Figured Tasmanian Blackwood. The Richard Thompson model has a tight response and great articulation, with a low-end that is clear and controlled. The middles absolutely sing, and the trebles are well-balanced with slight bell-like overtones. Of course, if this guitar was built for Thompson, you know it’s going to sound just right in lowered tunings, especially DADGAD, where the entire voice fleshes out and achieves a chorus-like effect. This guitar comes with the original Hiscox hardshell case.

We consider ourselves lucky when an Indian Hill guitar comes to our shop. Michael Kennedy‘s craftmanship is superb, and his aesthetic tastes are unquestionably sound. This Grand Concert Prototype was made in 2012 and has some juicy features to set it apart. For starters, Kennedy has included a soundport in the upper bout of the Indian Rosewood sides to provide the musician with instantaneous feedback from their playing, and the Sitka Spruce top is bound in Indian Rosewood which has a slight bevel to it, making the entire body of the guitar smooth to the touch and comfortable to play. The inlay on the Ebony bridge is stunning, as is the custom rosette–Kennedy‘s appointments are perfectly mated to the color palette of the Sitka Spruce and Indian Rosewood. This guitar practically plays itself. The action is perfect, and the guitar holds up well in dropped tunings, maintaining its great articulation even in DADGAD or C# tuning. Kennedy also added one of his trademark options, an elevated neck, which serves two purposes, 1) increasing the pulling tension of the strings on the bridge, which translates into a more efficient energy transmission and a more powerful sound, and 2) allowing the player to reach higher frets without the use of a cutaway. Lastly, as with all Indian Hill guitars, this Grand Concert Prototype has a traditional French polish, or varnish, which yields a thinner finish to let the tonewoods vibrate more freely and creates one of the smoothest surfaces in the world of lutherie.

In 1996 Martin Guitars teamed up with MTV to promote their new Unplugged concert series, and the result was a series of several hundred MTV Unplugged editions to the excitement of fans of both companies everywhere. One glance and you can see it’s special character: The letters “Unplugged” are inlaid into the fretboard in Abalone and glitter in any light. If you flip it over, you’ll see that the back is a split personality (or the union of two corporations): it has a Mahogany panel on the bass side and an Indian Rosewood panel for the treble. From this unexpected marriage we have a guitar with a surprisingly complex tone that has a solid response across all the registers. This guitar comes with the original hardshell case.

We are extremely excited to offer you this 2010 Olson SJ today! This masterwork has got all the sweet spots covered: Brazilian Rosewood back and sides, Western Red Cedar top, Olson’s trademark 5-piece neck of Mahogany, Maple, and Rosewood. Olson’s bindings are all Brazilian Rosewood—as is the rosette, in a beautiful radial arrangement of grain patterns—and everything’s trimmed with Abalone and wood lines. Olson’s doves demarcate the Ebony fretboard, and rich Brazilian Rosewood adorns both the top and bottom of the headstock. Rosewood bridge: check. Ebony Gotoh 510 tuners: check. Perfect fit and finish: check.

All of those beautiful components, when assembled with Olson’s calibre of Luthierie, yield a guitar which puts all others to shame. To call an SJ a ‘sound cannon’ is almost cliché—but this is an SJ which sets the bar at an almost unreachable level. Each register, from low to high, absolutely sings; it’s like there’s three or four guitars playing at once. The tone is rich, decadent, vibrant. Everything, from note separation to setup, is perfectly balanced. It’s practically perfect.

This guitar comes with an L.R. Baggs LB6 pickup.

Attention, Parlor guitar enthusiasts! We have an exciting new offering fresh off the boat from Scotland. Well, it landed in 2007, but the Kelday 000 sings like a spring chicken. William Kelday is an excellent luthier based in Fintry near Campsie Glen, Scotland, and has been churning out fine guitars since 1986. Our Kelday 000 features European Spruce to create a warm tonal palette, and Indian Rosewood back and sides for a punchy voice with lots of projection. Further, Kelday has installed doubled walls on this 000, which help isolate the back and top (enabling them to vibrate more freely) and enhances projection. Of course, it doesn’t hurt to have pretty Mahogany bindings and an Abalone rosette to look at. This is a great example of what a Parlor guitar should sound like: punchy, crisp, sweet. It excels in open tunings (especially Open G), where the tone fills out and has a dynamic body with lots of separation. This guitar comes with the original Calton Flight Case.

If you’ve ever played a Collings Dreadnought, you know what to expect: a cannon in your lap, lots of projection, flatpicker’s heaven. This, friends, is a bit different; its almost an anomaly. This 1995 D2H BRA is mellow, well-rounded, balanced response across the registers. Thanks to the Brazilian Rosewood back and sides opening up especially evenly and the naturally more warm Adirondack Red Spruce, this D2H BRA is surprisingly clean and easy to play. Honestly, this Dreadnought is more sensitive to fingerstyle than many other guitars in this size range. Collings‘ customary Herringbone trim and zigzag back strip are showcased here, paired nicely with bbindings. This guitar comes with the original Collings TKL hardshell case.

Welcome to Dream Guitars! Home of the loudest, most nuanced, most original guitars! But nothing quite compares to the 2006 Greenfield Changui we have in the store today. When renowned Canadian luthier Michael Greenfield struck up a conversation with one of the best jazz guitar players alive, Charlie Hunter, of course the lovechild of that conversation would be a seven (or eight, in Hunter’s case) string nylon guitar with highly flamed Koa back and sides and Spruce top. Enter: The Changui! As strange as its name may be, this is a guitar which loudly bucks all the trends and unquestionably changes your style the second you start to play it. Tuned from a high C to the ultra low F string, this guitar uses specialty nylon strings from the German string company Hannabach to achieve tones that range from warbling and loose lows to sharp, biting highs. The Changui is also a great showcase for Greenfield’s great attention to detail: observe that there are not one, but two bevels, one on the front lower bout and the other on the back upper bout (commonly known as a Laskin Relief) to handle this creature comfortably. Greenfield’s Spalted Beech and Paua rosette shines below those custom strings, and the Florentine cutaway has a graceful arc. The multiscale proportions are copyrighted by Novax (a detail requested in the original for Hunter), so that the monster low F string has the proper tension and intonation. When you do the math, you’ll see this is a rather dramatic multiscale: from 25” on the trebles to 29” on the low F. This guitar comes with a K&K pickup and Calton flight case.

This is a souped up edition of George Lowden’s 35 series, which are known for their versatile mid-sized bodies and understated appointments. With this 2001 Lowden F35, we have a set of beautifully flamed Koa for the back and sides coupled with a tight-grained Red Cedar top. Combined, they produce a crisp tone across all the registers with lots of articulation. Overtone harmonics have a swift decay, so this guitar is well-suited for recording. The Maple and Mahogany bindings are gorgeous and create a aesthetically appealing transition from Red Cedar to Koa.

Wide awake and firing on all cylinders! Check out this 2009 Maingard GC if you’re looking for a livewire flattop that’s got headroom for a heavier attack, and sensitivity for a gentler touch as well. The Alpine Spruce top and African Blackwood back and sides form a dynamo for great projection, added color in the mids and bass, and the overall quickness that we find in every guitar from Marc. The GC body is 16 inches across the lower bout, but with the addition of both an arm bevel and a rib bevel, plus slender soft V neck profile, this Maingard remains easy to play. For this, and all the other reasons above, you won’t be able to put it down for long.

Other keywords: lutherie, cape town, abw, 304, hiscox

Jeff Traugott’s work is highly sought after, and for a good reason: his guitars are singularly powerful and dynamic. The sonic expanses you can travel in this 2008 Traugott R, for example, are almost limitless. Startlingly straight-grained Brazilian Rosewood back and sides are strong, well-balanced, capable of projecting the clean dryness of the German Spruce top right out into the airwaves. Traugott’s attention to detail is spot-on: the Brazilian Rosewood rosette is perfectly installed, and the fit and finish over Ebony bindings and Brazilian Rosewood headplate is flawless.

The curves of his larger-than-OM body are reminiscent of the surf at high tide: a swooping dip between the upper and lower bouts’ shoulders. This curvaceous body generates a dry, thoughtful tone, and the pianistic separation that fingerstylists cherish. Responsive across all registers, the lower and middle range has, in particular, lots of body, such that simply tuning down to Drop D mellows the entire sound and has a tight, articulated presence that’s so hard to find in lowered tunings. This guitar comes with a Calton Flight Case.

In the world of high-end and innovative instrument builders, few names are as widely known or highly regarded as Ervin Somogyi‘s. This man has singelhandedly reinvented many aspects of the modern luthier’s trade, expanding the horizons of what is artistically and functionally possible. Somogyi’s landmark texts, The Responsive Guitar and Making the Responsive Guitar, represent decades of dedicated practice and study, and yet the impact of this immense body of knowledge on his guitars is organic, controlled, elegant. Take this Somogyi 2011 Classical Carp,” for instance. The rosette and inlay that Somogyi carves are jaw-dropping: intricate, clean, and so perfectly installed they look like natural features of the Sitka Spruce top. Combine that with Somogyi‘s other trademarks—his peaked headstock, scalloped nut and bridge, his Ebony trim—and you find yourself holding a guitar which comfortably straddles the line between art and tool. Somogyi‘s eye has blessed this guitar with a set of Brazilian Rosewood for the back and sides which probably doesn’t have an equal: the rich, sumptuous color palette varies from creamy vanilla to rick chocolates and dusty grays. The tap tone of both the Brazilian Rosewood and the Sitka Spruce is cavernous, echoing, and drives home just how finely honed is Simogyi’s technique in voicing this guitar. Simply put, this is more than a guitar, but its not untouchable art, either. This is an instrument which, miraculously, is equally beautiful to listen to and watch. This guitar comes with a Hoffee hardshell case.

We haven’t had one of Yuichi Imai’s classicals before, but are nonetheless impressed by the depth of tone and somber, warm timbre of the Brazilian Rosewood back and sides and Red Cedar top. This 1997 EJ-II has had plenty of time to open up, and it has done so beautifully, such that the instrument has a rich, well-balanced tone and excellent sustain. There are sweet overtones in the middle register that harmonize well with the clean, controlled trebles. This guitar is certainly a player’s instrument, meaning that there are some scratches and finish checking from use, and the D tuner button is slightly bent, but functionally this classical is in top form–and you’re hard-pressed to find this degree of craftsmanship and Brazilian Rosewood at such a low price. This guitar comes with the original hardshell case.

This 2015 Taylor GA in Sitka Spruce and figured Walnut is sure to put a warm feeling in your heart. As soon as you pick this guitar up and pick out a few notes you will be impressed by the tone, warm and round with a lively treble section and controlled bass. Taylor made some changes to their bracing pattern and the difference is noticeable, this guitar seems alive and broken in from the get go. The action is low and fast, making intricate fingerings not only possible but a breeze to pull off. A great showing from the folks at Taylor.

The late B.B. King is, and will always remain, one of the household names in blues. No less can be said for his guitar, Lucille, or Gibson’s long line of semi-hollow body ES345 guitars of the same name. We have here an excellent member of that long line of excellence: a 1992 Lucille in cherry red with Ebony fretboard and Gibson Humbucker pickups. As per B.B. King’s specifications, this beast of a guitar is made of laminated Maple, with a 3-piece Maple neck and carved Spruce toneblocks for extra sustain. The setup is stellar, and the guitar is in overall mint condition, aside from some light scratches on the pickguard. The classic Gibson Varitone is installed, which attenuates the low frequency spectrum as you cycle up through its settings, yielding a variety of different textures yo can add to your sound. This guitar comes with the original hardshell case.

Rainsong constantly impress us with the quality of instruments they produce, from tone to playabiltiy, we love them. This SMH boasts a larger body than we are used to seeing from Rainsong which attributes to the full and boisterous voice. Versatility is the name of the game with this SMH, it handled every style of music we threw at it easily. As ever with Rainsong guitars, the set up is perfect and you can count on it to be perfect where ever you find yourself. From the desert to the snowy Alps, to the stage, This SMH will be the most faithful and reliable of companions.

This 2011 Paul Beard E Model is a custom build that we commissioned for one of our long time clients a few years back. It is now returning to our flock for a time and we couldn’t be happier to see it here again. It has been treated extremely well since we last hosted it and remains is in true Mint condition.

From the tasteful 12th fret inlay to the unique crescent moon style cover plate and hypnotic Brazilian Rosewood laminate back and sides, this one is made to get people’s attention even before you start to play. But once it’s in your hands and you start grooving away, the sweet singing 12 fret body will dazzle you and your spectators equally. For those worried that twelve frets aren’t enough, this one conveniently comes with an elegant Venetian cutaway that makes hitting the high notes as easy as breathing. If you’re looking for a killer resonator with all the strength and tone you can hope for, this here is one to end your search.