1880's Martin 2-21, excellent condition, fully original, transitional fan braces with single tone bar, beautiful multicolored herringbone rosette and backstripe, absolutely gorgeous Brazilian rosewood, one (repaired) hairline from bridge to butt, set up to play with extra-light gauge strings, though this box is very solid and strong, top doesn't flex. The tone is surprisingly big and full, therefore this instrument is a great player as well as gorgeous to see and feel.
1889 Washburn New Model, Beautiful turn-of-the-Century Brazilian rosewood X-braced high-end Washburn, ivory bound body, fingerboard and peghead, herringbone binding, fancy Handel tuners, 0+ size (13 5/8"), Durkee's Patented Bridge. This guitar has recieved our top level set-up, including neck reset, and works great with extra-light strings, sounds at least as good as any 0 or 00-28 of the period, has a nicer neck shape and is one of the finest instruments of the period I've played.
1893 Martin 0-28, A beautifully preserved museum quality example in excellent original condition (except we replaced the tuner rollers), engraved tuners with pearl buttons, the smallest herringbone purfling, ivory binding, original coffin case with two latches missing; we've set it up (neck reset, perfect fret leveling, etc) to be strung with Extra-Light strings and low action. They don't get any better.
1901 Martin 1-21, Excellent original condition, bridge may have been replaced with perfect copy, fully set-up low with neck reset and level frets. A truly lovely example, it is strung now with extra-light guage and is wonderfully loud, strong and clear.
1905 Martin 00-42, Beautifully restored, much played but not abused, great sounding and playing, very classy early Martin. Playing this guitar, one gets a warm classical feel from the purity and delicacy of tone. The guitar has a replaced ivory bridge and bridgeplate, assuring use of at least custom-light gauge strings with no loss of tone, in fact possibly an improvement over the original practically non-existant plate.
1906 Martin 0-45, One of the very first style 45 Martins, the third or fourth 0-45 recorded, this incredible museum-grade gem is in virtually perfect condition and fully original. Abalone bound at every joint, ivory pyramid bridge, heel, pins and binding around body & fingerboard; "45" style fingerboard snowflake inlays and the famous torch inlay on the peghead, original inlaid Handel tuners. The lack of first fret inlay and binding around the peghead are unusual due to the earliness of this example of the '45' model, as is the unusual multicolored back-stripe. Exquisite workmanship of every detail, this is one of the loveliest of Martins you'll ever see!
1907 Gibson L-2, an extremely rare 12 3/4" x 2 7/8" petite model, especially considering the pin bridge (very unusual for these round-hole arch-tops, Gibson's first models,) which helps the tone immeasurably. With its 1 3/4" nut width and its wonderfully stout construction, it is especially desireable as a unique travel guitar!
1907 Martin 00-18, Brazilian rosewood, in absolutely superb condition. This is a large guitar for those days, and is quite rare - you see mostly O's and smaller. The absence of back binding and a herringbone rosette determine the model 18; mahogany on style 18s didn't come in until a couple years later. On close examination one notices some anomalies: the frets are T-frets, thus the fingerboard must have been replaced, though there's no evidence of it, other than the frets; the bridge is a slight variant from the standard pyramid, and there's evidence that it has been off. Martin used several different pyramid styles, and recently I saw another 1907 with the same detailing (Thank you Jimmy Caldwell). The serial number tells us that this is the 40th guitar made in the year, with a total of only 398.
Sonntag Parlor, circa 1910 , fron New York, an nice straight braced 12 1/4" (width at the lower bout) parlor with exceptional Brazilian rosewood that works nicely with steel strings in excellent condition, with attractive herringbone purfling and rosette, original coffin case
N.B. Curtiss Parlor, An extremely nice parlor out of beautiful Brazilian rosewood with a wide band of multicolored purfling around the body, ladder braced, remarkable tone. The body is 13 1/" wide, there is touched-up pickwear under the soundhole and one repaired crack in top. We don't know who made it, but is is a stand-out among other guitars of its ilk.
1910 Martin 00-28, A very sweet 00 in great condition with one issue: a replaced bridge with finish touch-up around it, otherwise all original.
1913 Martin 0-28, A great player's guitar, three or four repaired cracks in the top, four in the sides, clear plastic pick guards that we plan to remove soon, tuning pegs were originally ivory friction pegs, it now has banjo tuners. There are also pieces of replaced binding. Good action, great players guitar.
1917 Martin 0-18, Brazilian rosewood, an unusual and beautiful, all original guitar. 1917 was the year that mahogany was used in the style 18. This one is early and still rosewood. Another unusual feature is the fan bracing, Yet another unusual feature is the bridge, which bears strong resemblance to a Washburn bridge of the era. Mike Longworth’s book tells us it’s original! This guitar is in excellent, original condition; experience shows that these fan-braced Martins can sound beautiful with steel strings. It will need a neck reset and the usual accompanying fret work to set it up for steel strings.
Circa 1920 Galiano Grand Concert, Ultra blues/bottleneck guitar made in New York City by one of the several Italian luthiers (Cerrito, Ciani, Grauso, Nettuno), all of whom used the "A. Galiano" brand name for their instruments, mahogany/spruce 14 7/8" wide and 26" scale. A close relative of the Stella/Oscar Schmidt guitars, also sharing a longer scale length and straight braces, which made these the standard of choice for the original blues players, This one has been fully and perfectly restored by Howard Klepper, has great action and big, strong tone.
1920's Galiano Grand Concert, An original Stella, black finish with gold purfling, pearloid fingerboard & pickguard, originally one of OS' higher grade models. Ultra blues/bottleneck guitar by Oscar Schmidt (maker of the original Stella—these were made under a variety of names), top, back & sides are koa 14 3/4" wide and 26 1/2" scale . The long scale, cheap prices and availability throughout the South made these the standard of choice for the original blues players.
circa 1920's Sovereign Concert, By any other name a Stella, by Oscar Schmidt, the only good thing I know of to come out of Jersey City, NJ. This one is 13.5" wide with a 24 .75" scale, has pearl inlay around the top and a nice pearl vine inlay on the fingerboard—the Sovereign name was used mostly on the higher-end Stellas. Very nicely set up—plays great, and sounds great; a quintessential blues machine.
circa 1920 Dyer Bros. Style 6 Harp Guitar, A Larson Brothers miracle, this guitar is the most playable and best sounding harp guitar I have ever played. The six-string section has a gigantic full sound due to the extra-large body, the bass strings are tuned in a descending scale from D on down. There are a couple cracks that have been stable for several years—we are checking them to make sure all are repaired properly.
Circa 1920 Stahl Style 6, Almost 000, at 14 3/4" wide at the lower bout, by the Larson Bros, with excellent action. The guitar was rebraced about thirty years ago by Mario Martello out of John Lundburg's shop, Fretted Instruments, in Berkeley. I don't know why the rebracing was done, but it is now a more Martin-like X brace, and thus the guitar has a unique quality of Martin bass, Stahl clarity and power.
circa 1921 Ditson Style 1, Made by Martin, this is the smallest of the three body sizes with the broader waist that eventually influenced the D shape. The top is dark-stained spruce, back and sides are mahogany. It is fancier than Mike Longworth's model description having binding on the back as well as the top. Condition is excellent and original, an extremely rare museum grade piece.
1922 Washburn Style C, With the Lyon & Healy stamp on the main back brace. Mahogany back & sides, most likely Adirondack top, a very lightly built X-braced parlor in excellent, all-original condition. Almost a 00 (14" lower bout) and 24.5" scale and cosmetically very plain, this is a very lively sounding instrument with plenty of volume. we've set it up to play very nicely, and the neck is a super-comfortable "V" shape, just the right size.
1923 Wurlitzer/Martin 0-18K, Made for Wurlitzer, this is an all-original, excellent condition, beautifully set-up and, best of all, surprisingly great full and deep sounding vintage guitar. Unusual in a couple of ways, it is one of less than 30 Wurlitzer Martins of this model, and was not made as a Hawaiian lap-style guitar.
1925 Martin 2-17, a demure young (81 years old) lady, made as a child's instrument, yet the former owner says she makes a dynamite slide guitar; string it up with mediums, tune it to open G, and roar! All mahogany, 24" scale, 1 3/4" at the nut and 2 3/8" at the bridge. Frank Ford has reset the neck, made a new bridge and gone over the top finish with a little french polishing.
Circa 1925 Maurer 493, Auditorium size, mahogany back & sides, X-braced (not laminated braces), restored to original beautifully by Chris Berkov with French polish, perfect action set-up. Big "V" neck, new Waverly slot-head tuners, incredible smooth, rich tone, nicely balanced. All-in-all a very desireable vintage guitar that, though not fully original, has plenty of charm, and a unique non-Martin but very successful tone.
circa 1925 Weymann Model 750, Weymann's Concert size, a very sweet mahogany/spruce 0-sized (13 1/2") parlor from the '20s or earlier, straight braced, a superb instrument in very nice original condition.
1926 Maurer 587, Circa 1920, top of the line Grand Concert size (14 3/16") Larson Brothers, with, from the original catalogue, "Rosewood (Brazilian) sides & back, top very fine selected white spruce...Madagascar ebony fingerboard, elaborately inlaid with pearl design in fingerboard & headpiece. Soundhole & edges elaborately inlaid with pearl and fancy colored woods, extension of pearl around fingerboard on soundboard...Ebony bridge inlaid with pearl ornaments, fancy engraved Waverly heads with pearl buttons, elegantly polished. A Most Magnificent Instrument in Every Respect." Other features: laminated X brace, 3 3/8" depth, 25 1/4" scale, 1 13/16" nut, excellent original (except some touch-up French polish on top and replaced bridge pins) condition, no cracks, very up-front strong tone, much clarity and balance—a truly incredible guitar, in every respect.
1920's Stella Grand Concert, Mid-20 Oscar Schmidt, this top-of-the-line model Grand Concert—at 14.75" with 26.5" scale, is all koa, the fanciest on the top, with vine-inlayed fingerboard and beautiful tortoiseshell pickguard inlaid into the top with an elaborate abalone inlay. The top has been rebraced with X pattern. This is the fullest sounding koa-topped guitar that I can remember hearing. I believe this is the guitar whose photo graces the back cover of Neil Harp's book, "The Guitars of the Oscar Schmidt Company."
1926 Martin 00-18, A classic model, one of the great original 12-fret Martin models that is still relatively affordable. This one is refinished (a very nice, thin hand-applied French polish), replaced bridge (belly-style) and bridge-plate (over-size), 'period-correct' but not original tuners. It is professionally set up, including recent neck-reset, and plays very nicely with low action and plenty of saddle showing.
1926 Martin 00-18, As sweet as they get, this one is in great original condition (with the minor exception of shallow holes for rhinestones in the bridge and pins), and is one of those guitars you pick up to play and forget about time passing. Mahogany back & sides, standard Martin spacing—1 7/8" at the nut—takes light guage strings easily. Sounds great, feels great, looks great...what could be better?
1926 Martin 0-18, Fully original and VG+ condition with a couple of professionally repaired cracks on the top, some pickwear where the pickguard usually resides and minor scratching on the back. Mahogany/Adirondack, excellent set-up.
• Ebony fingerboard, bar frets, nice and straight
• Pyramid bridge, ebony
Late 1920's Epiphone Recording Model C, Late 1920's, fully original, nicest one I've seen—and I've seen more than anyone, having been fascinated with these since my first one in the mid 1960s—and the tone is amazing as well. This one is serial number 157, which means it's Epiphones 157th guitar - they were a banjo company previously, and these models still have the banjo peghead, complete with mother-of-toilet-seat decoration and straight tuners. The higher models were carved top, while the lower grade flat-tops are the more successful tonally, and make some of the most unique and wonderful sounding guitars.
1927 Martin 0-21, An extremely beautiful example, in close to perfect condition. There is one issue: someone had drilled three holes through the bridge, which have been nicely plugged. It has not had its neck reset, which we would do if we owned it—these days it's so rare to find them pre-reset, the advantage of which is we can do it right. The bright side of this guitar is that it is otherwise fully original and 100% healthy. It still has its original soft shell case that looks practically new, partly because it has an old hardshell that fits around the guitar and its case!
1927 Martin 00-45, It doesn't get any better: this is one of the most glorious Martins. All original except for a forgery grade bridge by Chris Berkov and in beautiful condition, unbelievable sound, wide open and rich and sweet, clear as a bell! Strung with light gauge steel and doing just fine, healthy and solid, great set-up.
1928 Martin 00-21, Brazilian rosewood (straight grain, fully quartersawn) and red spruce, top and neck have been refinished, back & sides oversprayed, We've measured the top and all seems to be original thickness. Replaced bridge and bridgeplate, done to original specs. A wonderfully robust sound, a quality impossible in a new instrument.
1928 Martin 000-28, Original condition except for original size bridgeplate by Randy Wood. A number of cracks, all solidly, if not attractively repaired. Tone to kill: this is the quintessential vintage Martin model—there ain't none better. Back & sides are Brazilian rosewood of a quality that will never be available again, top is most likely Adirondack spruce, standard style 28 appointments of the day: ivoroid binding, herringbone, slotted head, Waverly three-on-a-plate tuners, 1 7/8" nut width.
1929 Martin 0-18, 12-fret body with slotted head, extremely light weight though takes Extra-Lights very easily, The back & sides may have been refinished, but it's very difficult to tell; if it has, it was a perfect job. There are no cracks, though there is pickwear where a pickguard usually goes. We have set-up this guitar to play as well as any new guitar, yet it has a tone that comes from only the best design and construction with seventy-fire years of playing under its bridge.
1929 Martin 00-42, very beautiful instrument, fully original and excellent condition except for an old heel crack that has been redone to practically invisible more recently. It is my contention that the older Martin bar fret guitars can be set-up to the same specs as any modern instrument, which is rarely done. The bar frets actually afford some extra adjustment possibilities, and when these incredible instruments end up with a good neck set and truly level frets, they shine like no other guitars on the planet. This 00 has just come back from our shop with incredible action—a dream to play. We did a forgery grade bridge replacement, as the original bridge had been shaved down and mucked up a bit. Now it looks great, plays in tune, and you'd never know it if we hadn't told you
1929 Martin 00-21, A superb instrument, original finish in excellent shape except for touch-up under the arm pit, neck reset, fingerboard replaced with T-frets, belly bridge and pickguard added—we don't know if this is to original specs: most Martins of this period came with pyramid bridges with no pickguard. The tone is quite wonderful. I've played untold numbers of similar guitars, and this tone is exceptional: much power and depth, with clarity and treble all there.
1929 Martin 00-21, One of the more beautiful vintage Martin's we've ever seen. 1929 is, according to Eric, the ultimate Golden Era, and this 00-21 is an unaltered, almost mint contition example, with perfect Brazilian rosewood and a clean, unaltered pyramid bridge. There are some pick scratches on the top, the neck has been reset perfectly and the saddle compensated, thus bringing us a true Stradivarius of the guitar world, with a clear, loud, rich and full tone.
1929 Martin 000-18—Extremely light, much used but beautiful. Original except replaced fingerboard and bridge, slightly oversized but correct otherwise. New bar frets, touch-up over removed non-original pickguard, back has been off, probably to repair side cracks, guitar is ultra-healthy now. Recent repairs were by Bill Tippin. Tone is explosive!
1929 Gibson L-0, 12-Fret all mahogany and great looking, pre-pickguard model, full restoration including flattening top, restoring bracing as original, light as a feather, incredibly open, sweet and rich tone; this guitar has a quality of tone seldom encountered—in old Gibsons, mahogany is king! This one is unusual in that it is 14 7/8" wide, practically a 000. A propos of the repair work, we believe in maximum quality restoration whenever possible on instruments we offer for sale, maintaining the proper relationship between an instrument's originality value and its function as a musical instrument. I think I can safely say that we give our instruments (the ones we own) a higher level of restoration than many other vintage dealers, often at similar selling prices.
circa 1930 Paramount Style L Tenor Guitar, Made by Martin for the Wm. Lange banjo company, this is an extremely rare example of one of Martin's most unusual instruments. It consists of an O-18T sized body with a chamber behind, similar to a banjo resonator, with ivoroid ringed soundholes along the front perimeter. All is out of intense Brazilian roswood, and the tone is outstandingly full and strong.
1930 Gibson L-0, 12-Fret, black finish, no pickguard, "The Gibson" on peghead very faded, VG+ original condition except replaced bridge. The guitar is incredibly light—we have to bolt it down to keep it from floating away. When you play it, you can tell it has the blues—it sounds great.
1930 Sovereign (Stella), an Oscar Schmidt-built Stella (Harmony bought the company in the late '30's), One of the fanciest, an all koa guitar with engraved ivoroid fingerboard and gold sparkle binding around top, back, and down the center of the back and the neck. In excellent condition with good action - someone has installed an adjustable rod with access through the soundhole. Extremely rare incredible sounding. Possibly was originally Hawaiian-style.
• Grand Concert: 14.75" with 26.5" scale.
1930 Martin 0-42, Incredible condition, absolutely beautiful. Belly bridge (1930 is the first year), no pickguard, the best neck shape as only found in 1930. There is one slight instance of pickwear on the top, much finish crazing, no cracks, fully original except for missing end pin, the tuners are the engraved Waverlies with celluloid button, bridge has not been cut down, with no evidence of a neck reset. The bar frets have been "levelled" (not properly) such that some notes high up on the high E string buzz, though the action is set too low. This is an open and free sounding instrument, quite balanced, lots of treble, yet full bottom end. I've been playing '0's primarily lately—they have a magic all their own.
1930 Martin 00-42, From my favorite year, which embodies the perfect spot in the transition from gut strings to steel strings. Very nice, professional grade top refin, looks great, oversize bridge and bridgeplate, heelcrack barely visible, still sounds like a million bucks, as they say. This guitar has a perfect example of the 1930 neck shape, the best in Martin's history as far as I'm concerned. Other features are very colorful abalone inlay around the body and rosette, original Waverly tuners with the engraved plate and a strap button next to the heel into the neck block.
1931 Martin OM-28, very early in the year still with the small OM pickguard and banjo tuners, though the tuners have been replaced (with Waverlies), Adirondack spruce and straight-grain Brazilian rosewood, older top refin, beautifully done, replaced pickguard, might be original bridge. The tone of this guitar compares favorably with all the original OMs I've known, which is saying a lot! It is beautifully clear and musical, with trebles that are bright, yet exceedingly sweet, and a full yet unmuddy bass. It is a pleasure to play, and will add much beauty to your music. the neck is thin, disappears in your hand despite the typical wide spacing of the period.
circa 1931 Gibson HG-22, Originally set up as a Hawaiian guitar. This is one of Gibson's many interesting excursions into weird—they pioneered the archtop, ƒ-hole guitar and flatback mandolin. This series of HG has a partial internal box with the ƒ-holes picking up the sound of the space between the internal and external sides. It has a very responsive, bright strong tone. Maple and spruce, 1 23/32" x 2 3/8". Very good to excellent condition, and extremely rare.
1931 Gibson L-1, Very early, 12-Fret Sunburst, two repaired tight cracks in top, otherwise excellent with beautiful sunburst finish, firestripe pickguard. These L-family guitars have been getting a lot of positive attention lately, with the 12-Fret ones being rarer and better. They are extremely light, the perfect size, with 1 3/4" nut; all combining in one of the world's most desirable vintage guitars. In going through Gibson's Fabulous Flattops, this combination of early 12-fretter with white binding on both top and back is the last itteration of the L-1, with the mystery of why it has the firestripe pickguard, which came in with the 14-fret L's.
1931 Martin 000-28, 12-Fret body, slotted peghead, pickguard, belly bridge, herringbone trim, Brazilian rosewood, Adirondack spruce. This model is one of the strongest sounding boxes from Martin, and the least common (except the 12-Fret D), and this example is exceptional in tone as well as beauty. There are a few issues: the back & sides and parts of the neck have been oversprayed and highly buffed, there is a crack in the treble side of the peghead, it has had the "California reset" otherwise known as "slipping the block", with subsequent damage to the back that has been beautifully "disappeared" by John Arnold, the treble wing of the slotted peghead has been broken and repaired (pinned) very nicely, the bridge has been replaced with a superlative repro, the pickguard has been replaced with a perfect pickguard from a 1936 Martin, a couple of tuners have been replaced with very close period examples. Despite these issues, this is one incredible guitar - it took my breath away upon opening the case for the first time. We've traced its ownership back more than ten years, and all structural issues have been rock solid the whole time with "Norman Blake tuning" which has a .058" on the bottom. The action is very low; the top and its finish are beautiful. All in all, it is one exciting guitar, and we are thrilled to have it here and available for immediate delivery!
1931 Gibson L-1, Black finish, 12-Fret, no pickguard, extremely light, an early example of a legendary model (various model names but all considered the L-00 style) in very good original condition. You have to tie this one down to keep from floating away
1932 Martin 1-17, These are sweet, beautiful playing guitars, rare, very late for size 1, thus a modern, solid instrument. Replaced accurate bridge, a few repairs done funkily but solid, non-original but very tasty fingerboard inlays, New bar frets by us, borderline neck reset candidate.
• Nut is 1 3/4", non-original hard shell case.
1932 Martin 1-17, a charming, comfy guitar that sits in your lap and purrs when you stroke it. At 12 15/16" wide at its widest point, actually almost 1/4" wider than Martin's spec for size 1, it's growing close to an 0. All mahogany, 12-frets, slot head, no binding, overspray on back, otherwise original, VG+ condition. We've re-set the neck and levelled the frets, so with the beautifully shaped neck she plays as easily as a butterfly floats on a breeze.
• nut width: 1 13/16", bridge spacing: 2 3/8"
1932 Martin C-3 Conversion, C.F. Martin’s C series was made in small numbers in the early to mid-’30’s as a competitor to Gibson’s archtop L-5 guitar. They were the same 15” size as Martin’s OM series guitars, with a slightly deeper body. The C-3 was the top of the line, and had the neck inlays and premier grade Brazilian rosewood back and sides of the Style 45 guitars. Martin only made 53 C-3’s in the round hole version (1931 – 1933, with 26 in 1932) which had the long scale of the OM series guitars before switching to the ff hole version with short scale in late ‘33. The pressed top construction of the C series made for tops that tended to be unstable and for the most part it’s agreed they were not great sounding guitars.
This particular C-3 turned up in Missouri in the late ‘80’s with lots of top cracks and was missing most of its top binding, so the conversion made sense. It was re-built as a shaded top OM-42 by Chris Berkov, with the bracing and finish copied from a nice ‘31 shaded top OM-28. The conversion is excellent work, with a perfect neck angle and beautiful green and blue abalone pearl around the top with perfect joinery. The top is 35 year old German spruce (there is debate over whether pre-war style 45’s had German tops). It sounds superb. It has its original finish to the back, sides and neck, and comes with the original faux alligator arched top Geib case. The original gold colored Grover tuners are in the case, it’s currently set up with gold engraved Waverleys. 1 3/4” spacing at the nut, 2 3/8” string spacing at the bridge, 25.4” scale.
circa 1932 Gibson HG-20, A very rare version of a very rare model, originally an Hawaiian guitar (that's what the "HG" stands for) with a round soundhole, ƒ-holes and an interior sound chamber. The size of an L-00, it has a Dreadnought shape and a Martin-like peghead shape. Natural top, black back and sides, nice refin, three little top cracks well repaired. We just gave it a badly needed set up, and the improvement in tone & feel is immense, with a particularly sweet treble with lots of sustain.
1933 Martin OM-18, natural finish, excellent condition, set-up, neck-reset, a few repaired (touched-up) dings, all original, including SSC. When the owner passed away in 1943, his guitar was put in a closet until recently. It still sounds new, yet has remarkable volume, fullness and clarity. This is certainly the nicest OM-18 we've had here in years.
1933 Martin OM-28, A beautiful example in original condition except for having an obliterated serial number. There are three beautifully repaired top cracks, otherwise great condition. The top is gorgeous with very tight grain, excellent quartersawn Brazilian rosewood back & sides. The tone is very beautiful: smooth, even, balanced, very musical. Recent neck reset by Chris Berkov which has revealed the serial number, 54557.
1934 Martin 000-18, early in the year and still long scale, thus making it a de facto OM-18. Somewhat worn but very beautiful, We have reset the neck and leveled the frets, replaced the bridge (forgery grade) and bridge plate. Otherwise it is original and crack-free. The startling thing about this guitar, however, is its tone. It is deep and powerful, fat and clear. Those who have played it since its rehab have ended up with a big grin. Rare even among great OM-18s, this thing stands out.
1934 Gibson Jumbo, The earliest big-bodied Gibson, the Jumbo is extremely rare and famed for its superlative tonal qualities. We feel that this one is from 1934 because of the absence of fingerboard binding which, according to Gibson's Fabulous Flattops, was exclusively done in 1935. An unusual feature of this guitar is the shallower depth (4 3/8" at the rear end) of the known Jumbos, which are fully 1/4" deeper according to GFF. This guitar has had either an overspray or excellent refinish, all original bracing—three tonebar version—perfect set-up, unbelievable light; all together this is an incredible player: amazing tone, great neck shape.
1934 Martin 000-18, From the earlier part of 1934, just prior to Martin's shift to short scale in their 000s, thus long scale, a virtual OM. This instrument has been owned and used extensively by a professional player and recording artist for the last 28 years; it's not a 'collector' instrument in that it has been refinished (before the last owner acquired it) but it is an instument of exquisite sound and playability. After all, these instruments are prized by their qualities as musical instruments, not icons for a collector's vault. Details: There was a second pickguard once, prior to the refinish, which is slightly visible; the bridgeplate is a replacement, slightly larger than original—for all we know it improves the tone—the fingerboard seems to have been replaced, there is a 4" tight crack in the top at the butt end, a repaired case bite (with a spruce inlay), gold replacement Schaller tuners, a wierd maple inlay above the nut to fill in a space in the peghead veneer caused by a former oversized nut (why they didn't use rosewood is a mystery to me), a high 14th fret, causing the F on the 13th fret high E string to buzz, and the bridge has been reshaped behind the pins—I think someone thought they were being artistic!
1934 Martin 000-28, Long scale, bar frets, finish wear but very beautiful, one repaired crunch in treble side, otherwise appears to be fully original, with low action. There's a large patch of finish missing on the back, probably from many years of belt-buckles, some bare spots next to the fingerboard and pickguard from years of playing, while the top has a gorgeous patina and deep color.
1934 Washburn Style 5200, From the Tonk Bros. era, made by Regal, a single-X-braced Concert size (Single 0) with a solid modern sound typical of the great monster-tone Regals. The 12-fret neck is big—not for wimps! The tuners are new, custom-made from Germany exact repros of the early 3-on-a-plate Waverlies. We've done the full setup, neck reset and all, so it is 100% playable with very low action.
1935 Martin 00-40H, an extremely wonderful example, condition is fabulous, sound is way up there near the top: trebles are fat and sweet, full bottom, very musical quality. The set up is great, being the result of the conversion (from Hawaiian lap style) by Mario Martello thirty-five years ago. This very sexy, beautiful instrument, as good as it sounds now, hasn't been played in thirty years, so it'll only get better from here.
1935 Martin 0-17, A nicely worn but very solid all original, all mahogany guitar. There are some repaired cracks in the sides and a side/back seam reglue, the neck has been reset, the action is low with extra saddle showing. keep in mind that a D-28 from 1935 would sell for way more than one from a couple years later—1935 is quite early for 14-fret Martins. They're lighter and bigger sounding in general, with 1 3/4" x 2 5/16" spacing. You can hear it in this guitar; it's a relative powerhouse for it's size.
1935 Martin 5-18, An extremely rare beauty in excellent, fully original condition; scalloped braces, bar frets (no metal in the neck), 1 3/4" nut width, this has got to be the world's best travel guitar! It's been played—there's some pick wear and finish cracks on the top, but no actual cracks, very lively clean tone. There were a bunch of these made in later, years, all non-scalloped, but these earlier ones are few and far between.
1935 Martin 000-18, Extremely light, from Martin's most Golden Age. Much repairs (by Martin)—fingerboard & bridge replaced, full refin, part of side replaced, now in excellent condition; a great player!
1936 Martin 00-18 Sunburst, an extremely sweet 14-fret 00 with an ultimately beautiful rich, deep sound. We have replaced an over-size bridge plate, re-set the neck and done the frets, put on Waverlies, and done a little bit of finish touch-up in the dark area of the sunburst by the endblock. It has a slightly over-size bridge that otherwise looks fine. There are no cracks, it plays beautifully with its full-on professional grade set-up, and has the tonal characteristics that we eternally strive for in a small mahogany body—the clarity and happy bounce that we expect with a gigantic bass response that is rare in these boxes. This could be a life-time instrument for the right player, w/orig. soft shell case.
1936 Gibson L-00, these pre-LG small Gibsons have become a tone icon—originally spurned as sub-Martin, but now recognized as a great American sleeper—incredible rich yet dry tone, non-Martin but equal. This beauty has the standard sexy sunburst spruce top, mahogany back & sides, 14-frets to the body, fire-stripe pickguard, some major finish flaking on the sides in one area (the bass-side waist), finish on top and back is excellent, with much of the typical Gibson finish-checking—quite beautiful actually. There is a very tight 3" crack near the top center seam by the end block and the centerseam has been reglued for 4 1/2". We've reset the neck, leveled the frets, took the belly out of the top (new orig. size bridgeplate plus some very clever violin-style repair techniques, so now it plays perfectly (you'll have to like the big neck!) and is forever stable with no loss of tone, as you can tell with two minutes of playing. Otherwise, the guitar is original. The new bridge-plate needs to be broken-in - this baby needs someone to play it.
1936 Gibson HG-Century, the Hawaiian version of the Gibson L-C, called the Century of Progress, basically an L-00 with maple back & sides and the exotic all-perloid fingerboard and peghead with rosewood squares with fancy pearl inlays inlaid into the pearloid. Fully original excellent condition, very rare. All the HGCs are 12-fret.
1936 Martin 0-18, A golden age Martin in remarkably beautiful condition and fully original, including the hard shell case; it appears unplayed. There is a barely visible hair-line crack at the edbe of the back and a possible heel crack from an old neck reset, also virtually invisible. The condition of the finish is exquisite. Adirondack top, mahogany back and sides, Brazilian rosewood fingerboard and bridge, spacing of 1 11/16" x 2 5/16", excellent action.
1937 Martin D-18, Refin. back & sides, looks wonderful from the front, high-X, this is one of those classic Thirties Dreadnaughts, from whence came Martin's reputation as the king of Dreadnaught. It's been played a bunch over it's life, though not much recently, and has the power and tone that is legendary.
1937 Martin 000-28S, A unique and wonderful vintage 000. Custom ordered in 1937 with lighter bracing for fingerstyle playing and without pick guard, as per Mike Longworth letter of 11/82 (included in sale). Serial # 66177 (stamped on April 27, 1937). Quarter-sawn Brazilian rosewood back and sides, Adirondack red spruce top, herringbone trim, zigzag back strip, 14-fret mahogany neck, slotted diamond inlays in 20-fret ebony fingerboard, 1 3/4" nut width, 24.9" scale, scalloped top bracing. Original finish, frets, ebony bridge, bridge pins, end pin and Grover open back tuners. Pro neck re-set and one repaired hairline back crack otherwise spectacular Ex+ condition. This is a spectacular sounding guitar, an early 1930's spec in a later '30's body, bringing an openess, clarity, power and balance that is positively lovely! And in this condition, it becomes even more unique and wonderful. A truly stand-out above and beyond many of the finest vintage Martins.
• Original Lifton plush-lined brown case with key
• An original July 1937 Martin catalog, and documentation from Mike Longworth
Circa 1938 Gibson HG-00, the Hawaiian version of L-00, with a big neck (1 7/8") and slightly heavier top to accomodate the Hawaiian style. Great tone and quite loud. We don't see these incredible small Gibsons very often, and they are almost always wonderful. By the way, I love the decorative squiggle on the truss rod cover, especially considering there is no truss rod! The peghead surface is undisturbed, a real surprise. Being a Hawaiian guitar, Gibson could leave the neck a larger size, and felt there was thus no need for an adjustable rod. I assume the truss rod cover was meant to keep the guitars appearance consistant with their other models, and the squiggle was to make up for the substraction of the feature. We have changed the straight saddle for intonation purposes, so now plays great
Circa 1939 Gibson L-0, black, 14-frets, rosewood fingerboard, VG+ condition.
1939 Gibson LC Century, An unusual LC in that the peghead veneer is rosewood, not the standard mother-of-toilet-seat pearloid. There are several repaired cracks, the back is one piece, solid maple (some of these were laminated), all parts appear to be original, with an excellent set-up and gorgeous sunburst. The tone is shockingly good, very loud with a maple crispness yet full, better sounding than I remember any of the many others I've played over the years.
1939 Martin D-18, the top along the fingerboard is scarred from removal of a pickguard, now has a replacement guard, replaced fingerboard, original finish (a beautiful color), bridge, tuners, a couple of repaired cracks, first class repair and set-up by Chris Berkov. The real story of this guitar is the incredible tone, as well as phenomenally loud. The set-up is great, making this a lifetime guitar for the player searching for the ultimate instrument.
1939 Martin 000-18, Very nice mostly original pre-war 000, some side cracks, otherwise excellent condition. This classic Martin is from early '39 and thus has the wider OM spacing and a surprisingly nice neck shape. Owned by a player, it's had a recent neck reset, new bridge and bridge plate and new Waverly tuners. The tone is great big yet sweet, everything you would expect from a Stradivarius of the steel string guitar. There is a chip in the peghead, original pickguard is that impossible-to-replicate brown tortoise color, very minor pickwear on the top, thus this is a gorgeous looking vintage Martin.
1939-1940 Ray Whitley Recording King, By Gibson, rosewood back & sides, extremely rare, as played (and smashed) by John Fahey. Back , sides & neck refin, peghead veneer replaced, recent neck reset & set up, very worn original finish on top (beautiful!) and the deepest sound I've ever heard coming out of a guitar, with infinite headroom (LOUD!).
1940 Martin 000-21, A beautiful, well loved and incredible sounding instrument, this guitar comes out of a very musical family that has played it for many years. Brazilian rosewood back & sides, top is probably Adirondack, scalloped braces (they didn't change to non-scalloped until the middle of 1944), herringbone rosette, tortoiseshell binding, long pattern slotted square inlays, ebony fingerboard & bridge, Grover butterbean tuners. Top has been refinished—there are two hairline cracks from the bridge to the but end, a beautiful repair except for the high buffing of the back & sides finish (makes it look too glossy). One interesting detail is the wear at the sides of the neck around the first fret-someone wigh calloused hands played this guitar so much in that one position to actually cause a slight narrowing of the fretboard! The tone of this instrument is exceptional - very full and loose, no doubt helped greatly by the efforts of that calloused-handed rhythm player.
1941 Martin 000-45, A very powerful sounding, beautiful instrument with full pearl border at every joint, Martin's stately pearl-inlaid logo on the peghead and the best of everything that Martin was capable of at the time: wood quality (Brazilian rosewood, European or Adirondack spruce), neck shape, workmanship. Restored by Chris Berkov, one of the Bay Area's superior vintage repair magicians, to first-quality, with refinish, new binding except peghead, one perfect crack repair in top, a couple in back and sides. The name painted on the case is Smiley O'Brien, who recorded with the Delmore Brothers.
1942 Gibson Banner J-45, a superb instrument, Adirondack top, firestripe pickguard, maple truss rod, three-on-a-plate stamped Kluson tuners with black buttons, replaced bridge and plate as original, overspray or refin back (because of some repaired cracks at at lower bout), first-class restoration consisting of reset, top leveling, etc. The sound is great: wide open and deep. I hear that Ren Furgeson of Gibson has borrowed it from the owner to figure out why it sounds so great.
1943 Martin 000-28, sold by us about a decade ago and now back on the market. This is one of the most beautiful Martin's you'll ever see, basically untouched. It came out of the California desert where it unfortunately acquired several dryness cracks in the back, which we repaired back then. We also reset the neck, so it plays perfectly. The wood and finish is absolutely gorgeous: Brazilian rosewood of course and Adirondack or European spruce. 1943 Martins have an ususually good ßtop wood, higher quality tonewise than before or after—I like to think it's European such as had been used on the pearl guitars that went out of production around that time.
1944 Martin 00-18, a very clean original example, early '44 and scalloped, beautiful top same as the great '43 Martins, bridge has been shaved a little to get to low action, plays great and sounds great, and will sound a lot better as soon as it gets broken in.
1944 Martin 000-21, This period spawned a bunch of particularly great sounding guitars from Martin, most likely because of a particularly wonderful spruce log, most likely Adirondack. This guitar's Brazilian rosewood is also especially stunning. However, the most stunning aspect of this instrument is it's condition. It is 100% original (the tuners are in the case), including hard shell case, and 99.99% mint. There are a couple of dings on the top and some cloudiness in the finish over the pickguard, known tohappen to original finishes in 1944. It was obviously owned by someone who polished it often, since it is glossy and beautiful. It is about as nice as they come!
1944 Gibson Banner LG-2, Excellent condition, all mahogany, five-piece maple neck and adjustable truss rod. Apparently, Gibson, in picking the mahogany for these, when they found a particularly good sounding piece of mahogany slated for a back, would instead use it for a top. This is perhaps why the mahogany topped Gibsons of this period seem to sound even better than their spruce topped equivalents. This one is in excellent, original condition, great action, and has a rich, growly Gibson tone.
1945 Gibson Banner LG-2, A very clean example that seems to be fully original (if the bridge has been replaced, it's a perfect job) and in excellent condition. There are a couple of minor side cracks that don't allow air through. The back is one-piece mahogany, the neck is round but not as big as some—very playable. The action is very low—the frets appear to be new with a planed fingerboard. The tone is big, full and free—a treasure to play and hear.
1945 Martin 000-21, A beautiful example, gorgeous Brazilian rosewood and Adirondack spruce. Back of the neck has been refinished and top oversprayed (most likely due to the repair of a top crack), possibly refinished, - very beautifully done, tone is vibrant and full. The back is original finish, with a hairline crack about three inches long. Again, the repair work is top level, and this is one gorgeous instrument.
1945 Martin 000-28, A healthy, great sounding and great looking herringbone, non-scalloped Brazilian 000 with a few repairs, all professionally done. The top is oversprayed, back, sides and neck are refinished, a beautiful job. There are tight crack, five in the top, various other cracks in sides and back, new pickguard. Action is low, sound is very, very fine, and price is very low, since the book has these at $21K-$25K.
1945 Martin 0-18, Seen a lot of use but basically very nice, healthy and original (except possibly the bridge?) Origin Kluson open-back tuners and very nice brown pickguard, pickwear on top has been touched-up, has had the California neck set—slipped block—a million years ago.
1946 Martin 0-17, Very sweet small-bodied old Martin, mucho scuffed but amazingly no cracks. Great action, very straight neck, all original except maybe the tuners—they're from the right period but on close examination, it had different tuners at some point. The neck is a bit large, being from the war years when the truss rods were left out, due to scarcity of metal.
1946 Martin 00-21, A very fine vintage Martin with finish issues but excellent structural and set-up condition. The finish seems to have run into a little too much heat at one time, enough to cause some extreme adhesion problems in a few spots on the sides and back of the neck. There are no cracks, all parts are original and the set-up and tone are superb.
1947 Martin 0-17, Excellent condition all mahogany 'Single 0', neck reset and new bridge by us, everything else is original. As is the case with these older mahogany Martins, the tone is warm and sweet.
• String spacing: 1 11/16" x 2 1/8"
• Scale: 24.9"
1948 Martin 000-18, excellent, all original condition, 1 11/16" width at nut, 2 1/8"+ spacing at bridge, scale is 24.9", wide grain spruce top, doesn't look like sitka...could it possibly be Adirondack? The set-up is very nice, low action and the sound is sweet with a strong treble. An outstanding instrument!
1948 Martin 0-18, An excellent example, beautifully set-up with recent neck reset. There are a couple of very fine hairlines on the treble side and some belt-buckle scratches on the back, otherwise excellent condition
1948 Martin 00-18, a fine looking, fully original example, the only issue being a football patch and a couple of repaired cracks in the treble side near the end pin. Neck has been reset. This is one of those rare 00-18s that has a big, full, deep sound, thus being a superb playing and performing instrument, a thrill and delight to play.
• Nut width 1 11/16", bridge spacing 2 1/8", scale 24.9"
1948 Martin D-18, A little pickwear on the top, but that's it for issues, otherwise this is clean, original, great set-up and fantastic tone. The saddle has been fully intonated with an extension in front of the saddle slot - an ingenious way of maintaining the originality while maintaining full playability. This is killer sounding guitar! Julian Lage pronounced it his favorite in the shop.
1948-49 Gibson J-45, Beautiful almost mint, formerly owned by Kelly Joe Phelps. Tuners have been replaced with copies of the originals, with the originals available soon. This is a gorgeous vintage instrument with a clean, strong, balanced tone; it responds fully to the lightest touch and has the feeling of there being a lot under the hood—plenty of excess power.
1949 Martin 0-15, Excellent condition, very clean, great neck set (by us), low action, new Waverlies and strap button in the heel plate. The bridge has never been cut down. All in all, a beautiful, sweet-toned example that looks new.
1950 Martin 000-18, some scratching and belt-buckle-itis, but overall it's in great shape, as well as great sounding. We've done a full restoration and set-up, including a neck reset, so it plays great, with action anywhere you want it. Sitka spruce top, mahogany back and sides, Brazilian rosewood fingerboard, bridge, and headstock overlay. Gorgeous light-brown tortoise-shell celluloid bindings and pickguard. Original tuners, ivory nut and black bridge pins. Fully original including the soft shell case.
• Nut is 1 11/16", bridge is 2 1/8", scale 24.9"
1950 Martin 00-21, a very fine example, very low action and big, full sound. The back is extremely tight , straight grain Brazilian rosewood, top is bearclawed Sitka spruce, nicely darkened from age. There is one tight dryness crack in the back, fully repaired.
1950 Martin D-28, 1950, A fine, true sounding bluegrass axe, this one has been around quite a while and knows all the tricks. It has the sound of age and wisdom, with power and punch. There's the common pick-guard crack, and the top center seam looks like it's thinking like it might want to open up some time down the road, and someone has replaced the white plastic binding around the top with maple. There's much finish checking and the saddle has been nicely compensated, the neck reset, thus the action is low. The quintessential tight, loud and big sound of a great early non-scallpoed but thoroughly broken-in D-28. It has many stories to tell, one of which is that it was owned by Joe Satriani and used on some of his CDs.
1950 Martin 00-21S, I'm assuming that the "S" stands for the lack of a pickguard; Martin's records tell us there were two in the batch. Certainly, the 00-21 is our favorite model from this period; Brazilian rosewood, 12-Fret to the body, slot-head. these 00's have a some kind of magic—they all are fantastic instruments. This one is in excellent condition except for some pickwear below the soundhole: it's very unusual in that it has no pickguard. There are no cracks, it is original except for an as-original replaced bridge, and the action is very low.
1950 Martin 5-18, From a body size & style originally a 19th Century Martin called a Terz Guitar, tuned a third higher than standard. This model was made famous by Bobby Gentry in Ballad of Billy Joe, Marty Robbins and others. Condition is excellent and original
1952 Martin 00-21, Close to dead mint, absolutely fabulous condition, the best grade Brazilian rosewood, very alive, open tone. The instrument is 100% original, with the original tuners in the case and recent Waverlies mounted. The rosewood is dead straight tight-grained quartersawn, of mythical quality, a light golden colored immaculate spruce top, Braz. rosewood fingerboard and bridge and string spacing of 1 13/16" x 2 3/8".
1953 Martin 0-18, Clean as a whistle, one issue: overspray on back of the neck that has partly rubbed off; still it hardly detracts from the otherwise gorgeous condition, incredible guitar.
1953 Martin 0-18T, A super nice tenor, fully original, no cracks, only minor scuffing, straight neck, low action; what more could any tenor guitarist ever want! One could tiptoe through the tulips very nicely with this sweet guitar.
1954 Gibson J-50, all original, natural finish (this is the only thing that differentiates a J-50 from a J-45), small pickguard, much pickwear in two areas of the top, couple of minor back cracks, set-up by us, looks great, and sounds even better!
1954 Gibson SJN, A classic big early Fifties slope-shouldered Gibson, much played and sounding incredible! The rosette has been mildly Willie Nelsoned, there are no cracks, and everything is fully original, including the case, which happens to have an ancient "Bill Haley And The Comets" painted on it.
1954 Martin 00-18, A fine old Martin—it has seen the world but survived nicely with plenty of stories to tell. We've done the necessary, frets, reset the neck etc., so it works like new, but sounds deep and wise.
1957 Martin 00-18, 1957, a fine example in excellent condition and very low action and full sound. As with all 14-fret Martins of this period, the nut is 1 11/16" wide with 2 1/8" string spacing at the bridge, As with all non-Dreadnought Martins of this period, the scale length is 24.9". This is a superlative sounding 00-18!
1957 Gibson CF-100, A very interesting and well-thought-of model, this is essentially an LG-2 with cutaway. It is sunburst, 14 1/8" wide at the lower bout, and always seem to sound a lot better than the LG-2s. Some were made with a magnetic pickup coming through at the end of the fingerboard; this one is entirely acoustic, and does not disappoint one bit re: tone. The braces are X pattern, the pickguard is the smaller '40's and early '50's teardrop shape, all woods are solid, mahogany baxk & sides, spruce top, Cremona brown sunburst finish, ivoroid bound body and fingerboard, Les Paul style trapazoidal fingerboard inlays. It is in very beautiful virtually mint condition with slightly high action and shaved bridge.
1958 Gibson LG-1, Excellent all-original condition straight braced old Gibson, one of the great bargains of the vintage guitar market. This is a first-class blues ax, second-class balladeer
1958 Gibson J-50, a couple of nicely repaired cracks in the top along with an overspray and professional repair to edge of soundhole, gigantic sound, just like you'd hope to expect from a great '50s Gibson J. This one formerley belonged to Tammy Wynnette.
1960 Martin 00-21, refinished by Martin, looks fantastic, in excellent condition. The Brazilian rosewood is of the highest grade.
1960 Gibson Country Western, natural finish, excellent original condition, actually close to mint, just a subtle pickguard crack, original case, brown leatherette w/green flannel lining, also close to mint. We've just reset the neck, so it plays great.
1961 Martin 0-18, Very nice condition and fully set up to play easily. There is a finish touch-up on the top that's excellently done, visible in the close-up photo of the top, and some well-done crack repairs. These guitars don't come along often in such nice playing condition, and they fill a nice slot that can't be found anywhere else; nobody makes guitars this size these days.
1962 Martin 0-16NY, excellent original condition. An extremely popular model, built much lighter than Martin's normal specs at the time. The "NY" refers to the "New Yorker" concept, meaning it was patterned (approximately) on the guitars made before 1898 which were stamped "New York", thus 12-fret and slotted peghead. Sitka spruce top, mahogany back and sides, Brazilian Rosewood fingerboard, bridge, and headstock overlay.
1962 Martin D-18, Excellent original condition, wide grain Sitka spruce top, mahogany back & sides, no cracks, and a super clean, strong tone. Hard to imagine that this guitar is 47 years old!
• Brazilian rosewood fingerboard & bridge
• Small bridgeplate, tortoise pickguard
1963 Martin 000-28C, One of Martin's higher quality classical guitars, based on their 12-fret 000 body, out of beautiful Brazilian rosewood. There is one repaired crack in the side, lots of pickwear on the top. These are often converted to steel string.
1963 Martin 000-28C Conversion, Converted a number of years ago by Bill Tippin to a beautiful style '40' body (new top) with '45' neck. Back and sides are the best grade Brazilian rosewood, what many of us consider to be the ultimate with dark chocolate coloring and black spider-webbing, full quartered, pearl border around the body with torch inlay peghead and wonderfully shaped vintage-style neck shape. When I first opened the case after it was delivered, I gasped, and then remembered it was a conversion - it looks that good! The tone is strong, punchy with great presence.
1963 Gibson Country Western, A beautiful natural finished mint condition example, fully original, with plastic adjustable bridge and remarkably clear strong tone. These bridges are often replaced with wooden bridge and bone saddle, which can make the tone even better.
1963 Martin 0-18, Martin's classic little box, something that is not available new anymore. This one is in excellent condition except for three side cracks and a shaved bridge; the tone is pretty amazing, very alive and surprisingly complete for such a small box.
1964 Martin 0-16NY, these are surprisingly great sounding guitars, made in the Sixties, just two models, the 0-16 NY and the 00-21 NY, as a sort of Sixties-style emulation of the "New York" Martins—the early vintage 12-fretters. In those days, the "Folk" market was thought by the un-hip big guitar manufacturers to be devoted to Silk & Steel strings, and they also overestimated, as was the their thinking at the time, the amount of bracing needed for said silk & steel. Thus, out of serendipity, was born the NY models, made for silik & steel yet easily strong enough for standard light gauge. They are possibly the best sounding Martins of the whole decade—even this seemingly petite "0". This one is in VG condition, a few minor repaired cracks in the sides, some pickwear in the top, set up beautifully and, as I was saying, the best tone of the decade.
1964 Martin 00-21 NY, a rare and very desireable Martin, especially considering the standards of the time. These were the lightest guitars built, along with the 0-16 NY, throughout the 60s and 70s, meant to emulate the pre-20th Century 12-Fretters. Back and sides are Brazilian rosewood, condition is excellent. There is one area of the back by the butt end where we reglued a seam, added support and touched up finish. You wouldn't know it was there if we hadn't pointed it out, and is totally stable.
1964 Guild F-20-NT, People don't generally give much attention to this model, but these early Hoboken-made small bodied (13 3/4") guitars are almost always spectacular. The ultimate instrument for someone searching for smaller body and narrow neck with a superb tone. This one's all original and sounds beautiful. Nut width is 1 5/8", spacing at bridge is 2 1/4".
1964 Martin 00-18, Excellent condition, with just some minor dings and belt-buckle-itis, this is a fine sounding example of what has become a very desirable model, due to the scarcity of high-quality guitars smaller than the 000. Braces have been shaved, which may explain the fine tone.
1965 Martin 00-18, A wonderful example of this model; it must have been played a lot—the tone is remarkable! Surprisingly deep bottom end and sweetness. We just reset the neck, so the action is quite low. All original, with some pick wear, otherwise excellent condition.
1965 Martin 00-21 NY, With a recent neck reset and its frets leveled and crowned for low action. This guitar is totally alive. With its Brazilian rosewood, and light build to emulate the early New York models, it also sounds older than it is. For anyone wanting a solid bass, liquid trebles and great balance to bring to their fingerpicking, this one has it covered. With one almost invisible repaired back crack, some residue of tape left in the lacquer on the back, and moderate pick wear near the sound hole very lightly French polished. Also, new Waverley tuners. From the UMGF forum, 8/25/07, "quite astounding for the sound it projected, its great tone definition and just great feel in hand."
1965 Gibson Hummingbird, A fine example with rare natural finish. In excellent condition and fully original except we've replaced the adjustable bridge with a rosewood with bone saddle one of the same size that sounds much better. It has a nice patina of usage, but no abuse other than a light overspray, which is easily removable; no cracks and good action.
1966 Martin 000-18, excellent condition, recent neck reset by Fank Ford, plays great, looks great, sounds great!
1966 Martin D-18, Excellent condition, very strong, punchy loud tone, low saddle with low action. A "cannon" as some say, though the analogy seems very unmusical. This D-18 is early enough to have the original small bridgeplate and tortoise guard.
1967 Gibson CWN, The Country Western Natural, also called the SJN, this was the model above the J-50, with better woods, fancier appointments, etc. A fine sounding example, the adjustable bridge has been adjusted permantly: remove the adj. Mechanism, fill the slot with rosewood, and route out a standard saddle slot. The heel has a repaired crack, possibly from a neck reset
1968 Martin D-21, Last of the small maple bridgeplates, with black pickguard and ultimate quality Brazilian rosewood. This guitar sounds fabulous, has very low action (saddle is low), and is virtually mint! There are a couple of minute dings and otherwise the condition is as-new, fully original including the hard shell case. This guitar is fabulous!
1968 Martin 0-16 NY, a favorite model of ours, as well as a bunch of other players: Roy Rogers, Mike Stadler and Eric Lugosch are all; dedicated players of 0-16 Ny's. They were the lightest guitars built by Martin, along with the 00-21 NY, throughout the 60s and 70s, meant to emulate the pre-20th Century 12-Fretters
1969 Guild F-47, Made in Hoboken, 16", Natural finish, mahogany back & sides, block inlays, excellent condition, recent neck reset. These early Guilds are the next vintage find—they are real sleepers. Made by ex-Epiphone craftsmen in New Jersey, with great tone and fast necks.
1969 Martin 0-16NY, A favorite model of ours, these small guitars sound fantastic. Wide 1 7/8" nut, 12-Fret neck, they were Martin's first vintage reissue, designed for the folk market, with Joan Baez playing her old Single "0" and the rest of us Folkies rediscovering the older 12-Fret guitars that had been virtually forgotten by the modern guitar world.
1969 Martin D-35, A well travelled classic, last year of Brazilian RW yet the nicest quality. There are repaired cracks and much wear on the top, back & sides are very nice. We just reset the neck, so the action is great, and the sound is rich, warm, smooth and easy.
1972 Martin D-18, This one came to us on a trade with a funky top, and we repaired it by replacing it with a beautiful Adirondack, scalloped high X braced top with hand-rubbed french polish finish. Now it's gorgeous, much similar to a Golden Era Martin
Mid 1970's Gurian S2R, Rare 00-size rosewood, in excellent condition, from the first Gurian factory in Hinsdale, NH, before the fire. This instrument features the highest grade, straight grain woods, maple binding, half-herringbone purfling, full herringbone rosette, string spacing of 1 5/8" by 2 1/4", Schaller tuners and the big gold "G" on the peghead. Gurians have been used by many notable players such as Paul Simon, Pierre Bensusan and Jackson Browne
1971 Martin D-12-35, Indian rosewood 12-Fret, slot-head 12-string in very good++ condition. One repaired crack along edge of fingerboard, bridge has been shaved to achieve lower action. These are successful 12-strings in that Martin used their fullest sounding box, the 12-fret Dreadnought—lots of bass!
1976 Guild F-30, my favorite Guild model. Lower bout is 15 3/16, making it basically 000 size. Very sweet-toned, pretty much unplayed. The neck is narrow, as was customary in those days.
1977 J.W. Gallagher 71 Special Custom, a Dreadnought made by the father in Wartrace, TN, in excellent, almost mint condition. Indian rosewood (beautiful set), Sitka spruce, snowflake inlays on the fingerboard, peghead torch with the "G" in pearl, herringbone binding, and low action. It was ordered custom with the "Doc Watson" model neck, with a nut width of 1 3/4".
1980 Martin M-38, 1980, Excellent + condition, Engelmann spruce top, Indian rosewood back & sides, same body size as the custom Matin 0000s listed below under New Steel Strings, 16" lower bout, same depth as a 000. This one has super-low action and rich, balanced tone.
• Nut: 1 11/16"; Bridge: 2 1/8"
1980 Martin 7-28, rare mini Dreadnought, 13 3/4" wide at the lower bout, 22 7/8" scale, a bluegrasser's travel guitar! The sound is quite good, amazing actually for the shorter scale. It is standard D-28 appointments, rosewood back & sides, spruce top, ebony fingerboard and bridge, with a neck width of just under 1 5/8". If you have a young precosious bluegrasser in the family, this will be the perfect guitar.
1983 Ronald Ho HSJ-12 Cutaway, big, beautiful maple 12-string made by a highly respected luthier from Port Townsend, WA. Ron hasn't been building for many years; I met him in the mid-Eighties at the Puget Sound Guitar Workshop, at which time he was producing very high quality guitars. Hot jazz fingerstylist, Jamie Findlay, has owned several of Ron's guitars, this 12-string having been one. The body is a 17" Jumbo shape with a sort-of Maccaferri-style cutaway, a pin bridge and excellently executed maple bindings and maple/ebony purfling lines all around the instrument. There are two small holes from pick-up knobs on the side next to the heel and a small amount of playing wear, the maple is stunning, the action is very low (super-important for a 12-string!) and the sound is big, clear and powerful.
1983 Martin Custom (OM-28), one of the rare original OM-28 customs ordered by Eric, out of Indian rosewood and European spruce. These few guitars basically started the OM's renaissance. They had been virtually ignored since 1934 when Martin shortened the scale length because opf the heavy guage strings of those days. The first batch of four of these were done with Sitka spruce on two and the other with Alpine spruce from the Levin factory in Sweden after Martin bought the company. The difference between the two top woods was startling, as this guitar will show. This one is 1 3/4" nut, herringbone purfling, perfect mint condition and the top is gently yellowed to perfection.
1985 Martin M-38 Brazilian, The M-38 was a particularly successful model, recently reintroduced. There were a small handfull (around a dozen, I believe) customs made with back & sides of Brazilian rosewood, this being one, Nut is 1 11/16"; spacing at the bridge is 2 1/8". This is a very powerful instrument, with a lot of warmth and depth; very gratifying to play and hear.
1986 Martin 0-18T, Virtually as new condition except for one repaired hairline in the back, bright, clear ringing tone, excellent action, original hard shell case in new condition!
1987 Martin J-65M, my favorite Martin Jumbo model. The maple works well with the large body, less boomy than rosewood. These are hard to find these days, and Martin's use of maple is almost unheard of. This one is in excellent condition and tone.
1988 Steve Andersen Concert, a Brazilian rosewood and Engelman spruce OM, formerly owned by Scott Nygaard, so this one has been played a lot and beautifully! Great, strong, clear tone.
1989 Alvarez Yairi 00-45, Twelve-Fret 00 body, hand-made by K. Yairi for trade shows and apparently one of only three similar guitars. The back & sides are solid Brazilian rosewood and the body is inlaid like a Martin style '45' with a few extras. This is possibly the highest quality Alvarez ever made!
1991 Santa Cruz F, A rare and fine guitar, back, sides & neck fancy flame maple, top of European spruce, 16" small jumbo shape. This is an early version of the F model, before the elongated peghead, lightly built, 1 13/16" at the nut, a very smooth, sweet sounding instrument in perfect condition and set-up.
1991 Collings OM-3A Custom, Serial #380, this one goes back to the early days of this famous Texas builder. Out of Indian rosewood and Adirondack spruce, with the custom addition of pearl trim around the peghead. Other features are abalone rosette, ivoroid bindingand vintage toner on the top. This is an extremely attractive guitar a wonderful refined tone, beautiful clear and loud treble and firm, clear base. The neck is very slim, with a 1 11/16" nut width and 2 3/16" string spacing at the bridge. The rosewood on the back is particularly beautiful, looking very much like Brazilian, while the sides are definitely Indian rosewood.
1993 Martin D-28 1935 Special, Sunburst, stamped "93 Reissue", with high X brace, 1 3/4" V neck, 2 5/16" spacing at the bridge, Brazilian headstock veneer, otherwise the same features of the HD-28VR. The sunburst is patterned after Martin's late Thirties sunbursts, darker than their first from the very early Thirties. In unplayed, as-new condition.
1994 Gibson SJ-200 Ray Whitley Custom, Sunburst, copy of the original SJ-200, designed by performer Ray Whitley (wrote "Back In The Saddle Again"). Only 37 were made, this one being #21, by Ren Ferguson and John Walker of the Gibson Montana Custom Shop. Brazilian rosewood , cowboy inlay's on the fingerboard, multiple binding, moustache bridge, and fancy inlay on the headstock. The original list price was $18,000.
1994 Gibson '63 Hummingbird Centennial Edition, Number 7 of a Limited Edition of 100, this is one of twelve "Centennial Collection models done in 1994. It is a copy of a particularly rare maple-bodied Hummingbird done only in 1963. Sunburst finish, double parallelogram inlays, humingbird pickguard, triple bound and 1 11/16" nut width. Tone is shockingly good, condition is perfect as-new virtually unplayed, original Certificate of Authenticity signed by Ren Ferguson.
1994 Martin 0-16NY, solid peghead, satin finish, must have been a custom order, someone longing for this wonderful model that had long since been discontinued.
1996 Grit Laskin, Brazilian rosewood 12-Fret 14 5/8" body, 25 1/2" scale, with Grit's built in ebony armrest. One of Grit's more sedate inlay patterns, though still very ornate, the peghead and fingerboard subtlely depict a natural shore scene, with the sun or moon low on the horizon, light glinting in the water accompanied by shore birds and seals. Based on a classical shape, with elaborate pearl and wood rosette, 1 7/8" x 2 3/16" string spacing. If ordered today, it would cost approx. $19K.
1997 Martin Stauffer 00-45, #12 of a limited edition of 25, with an original list price of $20,000, this model is an adaptation of the earliest Martins with a Fender-style peghead shape derived from the Stauffer Guitars for whom the original CF Martin worked in Germany. It has 45 style inlays with the script logo in pearl on the peghead, Brazilian rosewood, a modified pyramid/belly bridge, fossilized nut, saddle and bridge pins.
1997 Santa Cruz D-12-Fret, Mahogany back and sides, Sitka top, very deep & rich tone, as can be found only in these 12-fret dreadnaughts. This one is in excellent condition, has the traditional 1 7/8" width nut, slotted peghead, herringbone purfling and Waverly tuners. New, it would sell for $3645.
1998 Fylde Oberon, Twenty-Fifth Anniversary, 000 size, Gibson scale, Sitka spruce, with a great deal of high level hand-crafting. Roger Bucknall, from the Fylde coast of Lancashire, England, has been building for decades, with his instruments being played by many of the best musicians in England, such as Martin Carthy, Dave Swarbrick, John Abercrombie, Eric Bibb, Phil Cunningham, Al De Meola, John Entwistle, Archie Fisher, Davey Graham, Bert Jansch, Nic Jones (Nic's main guitar for years was an Oberon) and many more. See http://www.fyldeguitars.com for the current line-up The guitar is in excellent condition with a very nice slim neck.
• 15 1/4" wide, 4 3/16" deep
• Nut width 1 3/4", String spacing at bridge, 2 1/4"
• Very fine multicolored herringbone purfling on top, sides & back have smaller multicolored purfling
1998 Martin 00-21GE, Indian rosewood and Adirondack spruce; The GE's are a remarkable series from Martin reintroducing a selection of models from their "Golden Era'. With scalloped braces, Adi tops and a whole set of vintage appointments, they are giving today's custom builders a true run for the money. The 00-21GE was a short-lived run (around 160) of what had been Martin's longest running model of all time, and we're happy to have #135 here to offer for sale. It is in practically 'as new' condition.
1998 Eichelbaum Sierra Orchestra Model, Honduras rosewood, Sitka spruce, herringbone purfling with black binding, abalone rosette, tortis pickguard (added), gold Schaller tuners with ebony buttons, "snakehead" peghead shape. The tone is open and rich.
1998 Santa Cruz OM Braz., European spruce, Brazilian rosewood, much played and still in close-to-mint condition, very rich and warm sounding. The neck is thin but nicely V-shaped with gently curving cheeks and soft point.
• High X bracing
• Spacing: 1 3/4" X 2 3/16"
1999 Martin D-28 GE, From Martin's retro line of Vintage models, the GE is the penultimate in quality. The Brazilian rosewood, Adirondack spruce and vintage style bracing combine to turn this model into an ultimate tone monster, especially the deep bass. Cosmetics are based on early 1930's. There has been finish wear all around the soundhole and below the pickguard with poorly done touch-up and top de-glossed. These issues are most likely easily improved upon.
• There is a Baggs I-Beam installed
• Spacing: 1 3/4" x 2 5/6"
1999 Gibson L-00, Black finish, an earlier version that is deep bodied as per the Nick Lucas model, but long scale and finished black and no pickguard. Condition is excellent, the guitar is very light and responsive. Long scale is unusual on this model and gives A stronger, clearer tone.
circa 2000 Tippin DSTC, 12-Fret D Cutaway, a fabulous guitar that we custom ordered and sold five or six years ago. Out of EI rosewood and Adirondack spruce, it has a magical combination of elements that work together to create one of the more versatile and complete guitars around
2000 Bernie Lehman Manouche, Custom mader out of Indian rosewood and bearclaw spruce, with a beautiful light sunburst finish. Bernie has used X bracing in this box, which, along with the large 'D' soundhole called the "grande bouche" and slightly deeper body than he does currently, to give a fuller, richer tone. A dual source pick-up—a mic and under-saddle—has been installed. Condition is excellent.
2000 Martin Custom 0000 Koa, An ultimate custom, with gorgeous woods, top is bordered 42-style (includes around the fingerboard and rosette) in pearl herringbone, full ivoroid binding with 45-style fingerboard inlays and torch peghead, and Deluxe style inlaid pickguard. Top is incredible perfect Sitka spruce, tuners are gold Waverlies, condition is mint, as new.
2000 Froggy Bottom Model B Baritone, As new condition, with a wonderful deep tone, this guitar is out of Indian rosewood and Sitka spruce, is an excellent design to be extra-large yet still comfortable to hold and play at 16.5" wide and only 4.5" deep; scale length is 27". It has remarkable dynamic range, sounding great at low volume, and stong and punchy at loud volume.
2001 David Eichelbaum Grand Parlor, A beautiful 14 1/2" (00 size) 12-Fret guitar, 4 3/8" deep, out of perfect quartersawn Madagascar rosewood and Engelmann spruce. Scale length is 25" with nut width of 1 3/4" and bridge spacing of 2 1/4". The tone is rich and wet—lots of depth with fat notes and responsiveness..
2001 Kathy Wingert F, Kathy's first F, out of Cocobolo and Sitka, fancy koa binding and paua shell inlay. The cocobolo is a very unusual chocolate color looking much more like Brazilian rosewood, with a beautiful band of white heartwood in the center. The pearl borders the top and the soundhole, with a modern torch adorning the peghead. The nut width is 1 3/4", bridge spacing is 2 3/16", lower bout is 16", depth is 4 5/8", and the scale is 25 1/4". The tone is quite robust, with a rich deep bass.
2001 Martin 0000-28C Custom, 0000 sized body in one size bigger than 000, also called an "M" as in M-36 or M-38, we custom ordered this beauty, sold it to a professional player in Austin who has put several hours a day on it since then. It's not in mint condition, but it's not bad - couple of dings and scratches here and there but still looks great. Cutaway, Italian spruce, Indian rosewood, the body is one inch wider than an OM (16") but the same depth (4"), OM specs for the neck and bridge (1 3/4" x 2 3/8"). It is a very rich, sweet sounding axe with a stronger, nicer treble than your average Dread or Jumbo.
• Calton case!
2001 Martin 00-37K2 SM, in absolute mint condition. All koa 12-fret 00 designed by Steve Miller, 68 were made and this one is #68, the last one. Features include super fancy flamed koa, 
Martin's early 45-style torch inlay on the peghead (incredibly beautiful), herringbone binding with abalone rosette, ivoroid binding on the body, fingerboard and peghead, no inlays on the fingerboard, Waverly Sloan engraved tuners on the slotted peghead, nut width of 1 3/4" and string spacing at bridge is 2 5/16". This was an exciting release and the 68 koa-topped ones disappeared very quickly. It is an extremely tasteful and beautiful instrument!
2001 Martin 000-15S, Owned by a vintage afficianato, this all mahogany 12-fret 000 has been upgraded with nice Stew-Mac 3-on-a-plate tuners and polished to a gloss finish. As an early specimen of this model, it has the rosewood fingerboard and bridge and is out of mahogany instead of sapele, for whatever that's worth.
• A passive Fishman under-saddle pickup has been added as well.
2002 Merrill OM-18, This beautiful guitar is an exact replica of a 1930 OM-18 (including Adirondack top). Jim Merrill's OMs have proved to be at the top of the quality scale, as every one we've had is truly remarkable. They have a particularly strong bottom end, and thus the mahogany adds clarity and brightness, making Jim's 18 style boxes particularly exciting. Condition is "as new".
2002 Martin D-42K2, Mint, unplayed condition. The koa on this box is unusual in that is a very dark, sultry shade with beautiful flame.
2002 Martin 0000-28C Custom, Indian rosewood, Italian spruce, custom ordered by us to be as much guitar for the least possible price. The concept is to have a guitar that works like an OM with more bass. The body is one inch wider than an OM, and a touch shallower. A perfect combination of elements. Nut width: 1 3/4; Bridge spacing: 2 5/16. New old stock, with papers.
2002 Tippin 00T12, A beautiful 12-Fret 00 from Bill Tippin out of Amazon rosewood and hard growth Adirondack spruce. Braces are Italian spruce, and this one of Bill's first guitars with his floating back/tailblock configuration. The slotted peghead is adorned with Bill's deco "T" logo, which resembles a modernized torch inlay while the fingerboard has very tastefull small inlays out of pearl & abalone. According to Bill, it would take around $10K to buy this guitar new today
2003 Martin 00-45S, #17 of 100 Limited Edition. Reissue of 1902 model, #17 of 100 Limited Edition. Brazilian rosewood, Adirondack spruce, absolutely stunning inlaid pickguard and vine inlaid bridge, Two very early Martin 00's showed up a few years ago, one in the Nazareth and then another as parts never assembled in the attic of the old North Street factory. Mike Longworth sent the first one to Schoenberg Guitars for repair by T.J. Thompson, and had the second one assembled by the factory. They were catalogued as style '42' in those days as the '45' designation had not yet been established.
2003 Martin D-45 Celtic Knot, #19 of a Limited Edition of 50, the last batch before the "Millionth Martin", followed by the D-50 and the D-100. D-45 inlays along the top, sides and back of the body in select abalone pearl with unique Celtic Knot inlays designed here in Marin County by Larry Robinson, on the fingerboard, headplate, bridge. In addition, the signature of Martin Chairman C.F. Martin IV is inlaid into the back of the guitar in select pearl.
° Features: top of premium Adirondack spruce and back, sides and headplate of premium C.I.T.E.S. certified Brazilian rosewood. The instrument's Golden Era appointments include scalloped 5/16" Adirondack spruce top braces, a 1 3/4" modified V neck with square, tapered headstock and diamond volute. Gotoh gold tuners with specially embossed Celtic buttons, and the nut, saddle, bridge pins and endpin are crafted from fossilized ivory. The case is the famous Accord Case, of graphite: extremely light and strong.
° The Brazilian rosewood on this guitar, #19, is amazingly straight quartersawn grain, almost unheard of in this day and age. The guitar is in perfect, mint condition and somehow sounds better than any other recent Martin Dreadnought I have heard. It is remarkably open and full, and verrry deeep
2003 Martin OM-28C Custom, a very sweet OM cutaway with Alpine spruce and EI rosewood, rosewood (looks like Brazilian?) fingerboard & bridge, in as new condition. Nut width is 1 3/4", brige spacing is 2 5/16" low oval neck, butterbean Gotoh tuners, originally custom ordered by us for stock.
2003 Martin OM-35, A superb model offering the perfection of an OM at a very affordable price. The cosmetic details as a "35" are three-piece back of Indian rosewood, no "volute" on back of peghead, white binding around the body and fingerboard, low profile neck shape. As well, it has the OM style pickguard in black, 1 3/4" x 2 1/4" string spacing.
2003 "Mini Martin", Number 213 of a limited edition, this little guy is a 12-Fret herringbone Terz or Size 5 Martin, sort of an upgraded 5-28 out of spruce and rosewood—a very high quality travel, childs, or high-tuned (G) guitar. This was a special project of Martin's Dick Boak, as he loves the small sizes and has built a number of interesting tiny guitars, such as tiples with 6 strings. He particularly likes to string these Size 5 guitars in the Nashville "high-string" set which is the same as the secondary 6 strings of a 12-string guitar.
2003 McCollum Grand Auditorium, Walnut (extremely gorgeous flamed) and Italian spruce, B-Band AST p-up, Whitman tuner, koa binding, abalone rosette, and a five-piece mahogany/koa/walnut neck. A beautifylly made 16" small jumbo, this box has a lot of bass in it, while the walnut adds a punchy quality; it's particularly suited to open tunings. The very snazzy tight grain, silky top is finished with a gentle toner which is perfectly matched with the koa binding and the incredible walnut. This is a subtley beautifull guitar, though the walnut is way too beautiful to be called subtle! String spacing is traditional OM: 1 3/4 x 2 3/8
2003 Moonstone 000-42, An incredibly beautiful 12-Fret 000 with 42 style body inlays and 45 style neck. The back & sides are out of AAAA quartersawn Brazilian rosewood, the top is of first-quality Adirondack spruce. This guitar was made by Steve Helgesen as his personal guitar, and now he's decided to sell it. It is in perfect condition, sounds absolutely incredible, and is visually stunning.
2003 Martin Custom 00-18, European spruce top, mahogany back & sides, Martin "Golden Era" style with low oval neck shape and OM string spacing. Tone is very full and balanced with exemplary treble as one would expect from a wonderful 00.
• 1 3/4" nut; 2 5/16" spacing at bridge
• Mint condition
2004 Martin OM-35, As new condition, a superb model offering the perfection of an OM at a very affordable price. The cosmetic details as a "35" are three-piece back, white binding around fingerboard, no "volute" on back of peghead.
2005 Sexauer Dreadnought, a remarkable pre-owned Sitka and Indian Dread with amazing power and clarity. Bruce is always up for a challenge, and his few Martin-style D's have all proven to be as remarkable in their genre as his other styles are in theirs. Nut=1 3/4", bridge=2 1/4", ivoroid binding, simple inlays, all details are tasteful and beautiful. Condition is excellent. Purchased by Joe Satriani.
2005 Sexauer FT-15 JB, January, 2005, slant fret 000 12-fret out of Honduras rosewood and 30 year old European spruce, one of Bruce Sexauer's slant-fret originals -- Martin long-scale in the bass and short-scale in the treble. This guitar has gravity and depth, -- it's an elder statesman in the bass --, while the treble is sweet and balanced. It's an amazing guitar: fingerpicking delivers a rich and responsive range of tone, fundamentals and overtones wrapping around each other. With a flat pick, the middle register comes alive with colors that throw sparks. One of Bruce's very best guitars.
2005 Martin OM Night Dive Limited Edition, one of only 8 made, absolutely incredible pearl inlay by Grit Laskin and Larry Sifel. Martin's original press release:"This collaborative effort between Inlay Artist William "Grit" Laskin, the technical inlay wizards of Pearl Works, and the craftspeople from the Martin Guitar Company has yielded a Brazilian rosewood Limited Edition (Orchestra Model or Dreadnought size options) incorporating the highest level of inlay art. Laskin's headstock and fingerboard inlay art focused around a "night-time diving for shell" motif is painstakingly executed by Pearl Works then assembled and lacquered by Martin.
The inlay, depicting shell divers above and below the water surface, a retrieval boat, a shell cutter and an observer, forms a visual allegory for the process of harvesting and processing shell into the small slabs that inlayers use. All but the divers are real people involved in the world of shell and inlay: Larry Sifel (of Pearl Works) works at the saw, Chuck Erikson (the Duke Of Pearl) retrieves the shell from the divers, and Grit Laskin peers over the edge of the uppermost boat, just an onlooker to the stages of the process that he, as the inlay artist, the end user, does not participate in.
"For more than three years," says Grit Laskin, "the folks at Pearl Works and I had been talking about collaborating. Pearl Works is a pioneer in computer-cut inlay; I've been busy pushing the envelope in my own corner of the inlay universe. The idea of blending my "one-off" design approach with their unique production abilities got us excited. Many late-night discussions about design themes led us, not surprisingly, to the theme of inlay itself, a fitting inauguration of this new collaboration."
Pearl Works worked for two years researching how to approach this project. "The challenge of making "Night Dive" in a production environment lead us to develop a completely new inlay technique that we have used on the D100 and beyond," says Larry Sifel, founder of Pearl Works."
Top is Bearclaw Sitka Spruce with an abalone border, bone nut and saddle. This particular example is in perfect condition.
2006 Martin 000-21GE Custom, Engelman spruce, E.I. rosewood, ebony fingerboard & bridge, tortoiseshell bindings, mint condition. A beautifull, elegantly simple esthetic, with sound up the wazoo!
• Nut width, 1 3/4", spacing at the bridge, 2 1/4"
2006 Martin OMC-28M LJ Custom Edition #93, As new, out of Madagascar rosewood and Adirondack spruce, with 1/4" scalloped Adirondack spruce braces, bone nut & saddle, fossilized ivory pins, fine herringbone purfling, ivoroid binding and no pickguard. The rosewood on this example is straight grained and beautiful, which is quite rare.
• Nut width 1 3/4"
2006 Greven L-00V, Sitka top, Cuban cedar sides & back, beautiful 1934 style sunburst (with the small burst part in the center). The tone is quite sweet with a gorgeous singing sweet treble. String spacing is 1 13/16" x 2 3/8" with a comfortable vintage-like V neck shape, Grevin tortis pickguard.
2006 Merrill SJ, A beautiful Sunburst slope-shouldered Jumbo based on a 1949 Gibson SJ with some 1940's J-45 cosmetic features. Mahogany back and sides, Adirondack top and braces, Waverly tunes with ivoroid buttons, sexy narrow snakehead peghead shape, 1 3/4" nut width, Ivoroid binding with no purfling, 2 3/16" string spread at bridge, 24 3/4" scale and firestripe pickguard. This guitar has a quick, easy response, a solid, open bass, a rich midrange, and a sparkling treble. New, it would sell for $6500.
2006 Martin 00C-21 Custom, A very sweet 14-fret 00 cutaway with Adirondack spruce and EI rosewood, in as new condition. Nut width is 1 3/4", bridge spacing is 2 1/4, modified V neck, tortoiseshell binding with black ebony heelplate, fingerboard and bridge, butterbean Gotoh tuners, beautiful Adirondack top with slight bearclaw and very subtle aging toner and 1/4" Adirondack scalloped braces, 24.9" scale.
• Fishman Under-Saddle pickup and bone saddle installed (by us)
2006 Martin OM-42 Limited Edition, A rare and beautiful limited edition, flamed mahogany and Adirondack spruce, #5 of 30. Mint condition, vine inlay fingerboard designed by Dick Boak, CF Martin peghead logo in abalone, style 42 body inlay, Accord case. This box sounds great - on the high end of the great Adirondack-topped GE models coming out of Martin these days.
• 1 3/4 x 2 1/4"
2007 Merrill OM-42, From one of the top luthiers of the traditional style today comes this incredible OM guitar. Out of Honduras rosewood and Adirondack spruce, with fossil ivory nut (1 3/4") and saddle, 45 style torch inlay, 42/45 style fingerboard inlays, age-toned top, gold Waverlies. It was initially ordered as an OM-41 and thus stamped on the neck block, but was upgraded to Style 42. As we've come to expect from this maker, the guitar has enough tone to sink a navy, yet it has a supremely refined quality, as befitting a pearl-trimmed box such as this.
2007 Goodall Trad OM, Adirondack spruce and EI rosewood. We've been concentrating on their recent Trad models, which have been consistently astounding us with their incredible tone. Where does it come from? I don't know, but they are shockingly full, rich and bright sounding, and beautifully made.
• Nut width, 1 3/4", bridge spacing, 2 5/16"
2007 Santa Cruz OM, As-New condition guitar out of Brazilian rosewood and Adirondack spruce, 1 3/4" nut width. This is an exquisite instrument with perfectly straight dark quarter-sawn rosewood, gorgeous spruce, and startlingly lovely tone. Forward-shifted scalloped X, Adirondack and AAA grade Brazilian, custom with finest wood selection; extremely smooth and sonorous with beautiful clear highs and deep bass, one of the best sounding SCGCs I've ever played!
2007 Martin D-18 GE Sunburst, Mint condition except for added strap pin in heel, beautiful sunburst on an Adirondack spruce top, with mahogany back & sides, this model is patterned on a D-18 from 1934, and is one the the most successful tonewise of the Golden Era series
• Waverly tuners, straight-through saddle, ebony fingerboard & bridge
• String spacing: 1 3/4" x 2 2/8"
2007 Martin Custom 0-18 Sunburst, Sunburst, AAA Grade Sitka/Mahogany in literally "as-new" condition. Scalloped braces, V neck, 1 3/4" at the nut and 2 1/4" spacing at the bridge, long "drop-in" saddle, late 1930's style sunburst, ebony fingerboard and bridge. This might be the tightest grain top I've ever seen! Great sustain and clarity, and surprisingly full bass for this smaller box.
2007 Santa Cruz VJ, The Vintage Jumbo is a Gibson inspired slope-shouldered box out of mahogony & sitka, two-toned "tobacco" sunburst top, ivoroid binding, ebony fingerboad & bridge, designed to favor a sweet thick timbre with lots of headroom.
• Hand-tuned top bracing developed specifically for this model - tapered x-braces and double tapered tone bars - result in exceptionally punchy response.
• Rounded neck profile, 25.375 scale
• 1 11/16 x 2 3/16
• Condition: Mint
2007 Sexauer FT-15, The Kerala, a thirteen-fret 000 Cutaway out of AAA grade quartersawn Brazilian rosewood and Italian spruce, with snakewood binding. As we've come to expect from Bruce, this is a lightly built, Martin/Schoenberg inspired explosive guitar with remarkably clear and rich tone, with plenty of growl, sparkle and quick response. It is like a live animal with tons of energy, just waiting to jump.
• Spacing: 1 3/4" x 2 5/16"
• Varnish finish
2008 Marc Beneteau Concert Standard Cutaway, Out of Brazilian rosewood and AAA grade finest European spruce, in a truly gorgeous Amber Sunburst finish. Other features of this glorious instrument are the arm rest bevel, side sound port, bookmatched Brazilian headstock veneer, Macassar ebony bindings and trim, gold Gotoh 510 tuners with 18/1 ratio. A beautifully made instrument by Canadian luthier Marc Beneteau who has been making guitars since 1974 and who has made guitars for Tony McManus and Don Ross. Condition is "As-New". A very open and rich guitar, extremely warm and responsive.
• Nut width, 1 13/16", bridge spacing 2 5/16"
• Body width 15 3/4", Scale 25"
2008 Gibson AJ Concert Edition, 2008 Gibson AJ Concert Edition, One of only forty handmade "Premier Limited Edition" Advanced Jumbo based guitars, with a lighter and approximately 1" thinner body, three-piece Madagascar rosewood back & sides, Sitka top and 1930's AJ bracing pattern. Some of you may know of my penchant thinner bodies, and this one fits right in there As new condition.
• Cash price, $3250
2008 Kevin Ryan Abbey, Kevin's Grand Parlor, 12 fret, 14" lower bout, out of Indian rosewood and Swiss spruce, 25" scale. 4 3/8" deep at the heel. Beautifully crafted with gorgous details such as rosewood backstrap and heel, stairstep bridge, wood binding, and a gigantic sound: immense for such a small box.
2009 Martin OM-28 Marquis Madagascar, The Marquis line is the "Golden Era" line with Indian rosewood instead of Brazilian; this guitar represents an upgrade to the standard "Marquis" model by its use of Madagascar rosewood, a newcomer to the guitar world that is quite rare and possibly of equal quality to Brazilian. Crafted with pre-war GE appointments and tonewoods that include Adirondack red spruce for the top and braces, high X scalloped braces and traditional neck dimensions and string spacing.
• Baggs I-Beam pickup installed.
2009 Laurent Brondel B-4, A Carpathian spruce, Honduras rosewood Single "0", 12-Fret-to-the-Body, oil varnish. Laurent is a very talented Frenchman living in Maine. He worked at Bourgeois Guitars for a while, before that he played professionally for a couple decades, mostly out of Paris. He is an excellent guitarist, and his guitars have the something special that is only found when built by an accomplished guitarist.
Scale length: 25.59" (650mm)
Nut width: 1 13/16"; Bridge string spacing: 2 3/8"
Hot hide glue construction.
Martin 00-28 Cutaway Custom, 12-Fret Cutaway, slot-head, Adirondack/Indian, herringbone purfling, long scale, pyramid bridge, "Modified V" neck shape. We love to order customs from Martin which combine our favorite qualities. The idea of a Cutaway 12-Fret is intriquing in that it offers full access (better than a 14-Fretter) with the very appealing tone of a 12-Fret body. The 00 size has been grossly under-represented in the catalogues of modern guitar manufactures, unfortunately so, since they seem to offer a perfect balanced tone and ultimate comfort of playing.
• To be sold as "pre-owned", though very slightly so.
Recent Gibson J45 TV VOS, One of Limited Edition of 167, True Vintage repro of the early '40s Banner J-45 with Adirondack Red Spruce Top, 1930's Advanced Bracing Mounted with Hot Hide Glue, Antique Vintage Sunburst Finish, Historic Banner Headstock Decal, Vintage Style Tuners, Custom Vintage Case with Cover & Certificate of Authenticity. 1.725" nut width, 24 3/4" scale
Recent Martin 000-28 Perry Bechtel Special, Number 5 of 29, a special order from Gryphon Stringed Instruments, this is an extremely lovely recreation of the original OM, called a 000 because they hadn't started using the 'OM' name till after making about a dozen of them. The original guitar has never been found, but the letters between Bechtel and Martin have supplied the specs for this limited edition. This one has had various 45-style fingerboard inlays added.
~ Adirondack top & Indian RW (highest grade available).
~ OM-28 Marquis shape and appointments for the body
~ Engraved brass Waverly tuners with ivoroid buttons.
~ String spacing: 1 13/16" x 2 1/4", Fretboard radius is 12 inches
~ Ebony pyramid bridge with long, "drop-in" saddle.
~ Old style flat back braces as in the Authentic.
~Pickguard hand-made by Frank Ford
Recent Larrivée 00-09, in virtually new condition. rosewood back & sides and spruce (looks like Engelmann) with an abalone rosette and maple binding. Great small guitars like this are so hard to find, and wonderful to play.
Recent Collings 0042, 12-Fret, slotted peghead with torch inlay, IE rosewood, Engelmann spruce, perfectly crafted: a stunningly beautiful instrument in perfect condition.
Recent Collings OM-3A SS, IE rosewood and Adirondack spruce, the "SS" refers to "short scale", pearl rosette, Waverly banjo tuners, ivoroid binding throughout. Impeccable workmanship and a remarkably full tone, great bass, loud trebles, incredible condition.
• Spacing is 1 3/4" x 2 1/4"
Recent Santa Cruz H-13, Exceptionally beautiful example of SCGC's famous deep-bodied Gibson Nick Lucas copy, originated by Paul Hostetter of Santa Cruz, CA. Features are the best Brazilian, Adirondack spruce, ivoroid bound body, fingerboard and peghead, with a very attractive multi-colored rosette, pyramid bridge, fossil pins, saddle & nut, traditional brown pickguard and Waverly tuners
Recent Santa Cruz 12-Fret 000 L, An amazing Lefthanded Custom 12 Fret OOO; Custom 42 style 12 Fret OOO with lots of vintage appointments and gorgeous dark straight grain Brazilian Rosewood and heavily bearclaw figured European Spruce top. While most lefthanded players have to settle for the most basic versions of guitars when they walk into a shop, this guitar will give them an idea on what Santa Cruz can really do when they sink their teeth into a good custom order.
° CUSTOM FEATURES include: Lefthanded bracing and setup, Dreadnought depth body, Dark reddish brown tight vertical grain Brazilian Rosewood back and sides, Very stiff heavy bearclaw figure European Spruce top, Matching vertical grain Brazilian Rosewood headstock overlay with 45 style abalone torch inlay, Sloane-Waverly strip style tuners with ivoroid buttons, buffed neck finish, 1 13/16" nut width, vintage V-shape neck profile, abalone 45 snowflake fingerboard inlay, 42 style abalone top purfling and rosette, Pickguard left unattached in case pocket, ebony endpin and bridge pins with abalone dot. STANDARD FEATURES include: Ivoroid bound headstock and fingerboard, Dart neck volute, Ivoroid body binding and heelcap, Top of soundhole at pre-1920 19th fret position, 4" soundhole, Scalloped brace voicing for a vintage 1930 Martin OOO response, Zipper backstrip and endstrip, Bone bridge saddle with good compensation angle for proper intonation of bass strings up the neck, Bridge saddle set at a backward leaning 10 degrees for a more stable position in bridge saddle slot. The volume and ease of response is incredible. The extra treble clarity and harmonic complexity provided by the dense Brazilian Rosewood and the stiff European Spruce top voiced by the amazing Joseph King at SCGC balance the large bass and lower midrange voice characteristic of this model with a dreadnought depth. It is not often that lefthanded players get a chance to play a sophisticated custom instrument right off the rack. Here is a very rare opportunity to play a world-class custom lefthanded Santa Cruz. With hardshell case.
Recent Santa Cruz D, Mahogany & Adirondack, like new. A spirited mahogany dread with overtones of brilliance, and a sweet, dry aftertaste, perhaps not yet fully matured. One of Steve Swann's project of emulating the 1943 D-18.
• Nut 1 3/4"; bridge 2 3/16"
Martin XX??!!, A fun project for the workshop at Martin, this D was made from construction-grade Douglas fir purchased from the Lowe's Hardware in Nazareth. There are knots that you can see through, and various funkinesses, yet for all that, it sounds fine! There is the Martin logo on the peghead, no serial number; When we called Martin Customer Service, they didn't believe us, said no such thing existed. Talking with Tim Teel, Martin's head of production, he knew all about it and gave us the lowe-down.
Recent Lowden S35, Maple back & sides, spruce top; this is Lowden's smallest box, meant for fingerstyle playing but actually more versatile than that. The build and woods are exceptionally beautiful!
• Flame Koa peghead veneer and body binding, maple and walnut neck, abalone rosette
• Body width at lower bout, 14 5/8"
• Nut, 1 3/4"; Scale, 25 1/2"
Recent Larrivée C-19, Florentine cutaway, excellent condition, maple sides & back—very tight, pronounced flame, Sitka spruce top, 16 1/4" across the lower bout . Peghead is beautifully inlaid with a mermaid riding a seahorse, very tasty engraved vintage style fingerboard inlays and Celtic style pearl inlays on the bridge wings. Binding is maple, rosette is abalone, first rate craftmanship as expected from Jean Larrivée. Condition is Exc +.
• String spacing, 1 3/4" x 2 3/16"
Recent Collings 00-1, An All Mahogany 12-Fret based on Martin's early 00-17. With simple binding and pyramid bridge. The one variation is a solid headstock with volute and 1 3/4" nut width. The mahogany is a rich, dark color and the tone is startlingly clear and full—Collings seems to know how to get great sound out of a mahogany top. As New condition.
• Nut Width, 1 3/4"
ARCH TOPS. RESONATORS & ELECTRICS
1928 Gibson L-5, Possibly the most desired year for this model, with dot inlays, modern neck shape, maple back & sides, laminated maple neck. This example is very worn, yet very healthy and great sounding. The wear is mostly on the top' a nice even patina except for one area of finish touch-up of pick scratches in the darker area of the sunburst. The tuners are Waverly 3-on-a-plate with pearl buttons, specially made for us just for these early L-5s. Back and sides are very nice, with gorgeous figured maple and classic Gibson 20's sunburst finish.
1929 National Triolian, Palm Tree model, New maple neck(the original was made out of Bakelite) in original polychrome finish, new aged tuners, new National Hot Rod cone, original bisquit, finish is VG+ to Excellent condition, set up is ultimate, with as good a tone as you will hear on one of these.
circa 1930's L-30, Thirties student grade archtop, same body as L-00, maple or birch back & sides, spruce top. Several professionally repaired cracks, otherwise in beautiful condition. 1 11/16" x 2 1/8".
circa 1934 D'Angelico, Very early 16 1/2" L-5 style—D'Angelico started out copying Gibson—from before he began giving names to his models. Sunburst finish, supposedly done by D'aquisto, Waverly engraved tuners with pearl buttons, gold plated and engraved, original tailpiece and bridge. This is a particularly wonderful sounding and playing example. The early style bridge in particularly interesting as well, a great vintage touch.
1936 Gibson L-4, A continuation of the early 16" L-5, the only difference being cosmetics. Same scale, ƒ-holes, fingerboard dimensions, and bracing. This guitar is in excellent condition, with hand carved top & back. Tone is open, clear and transparent, with brilliance and balance. This is a sunburst finish 16” archtop with a bound spruce top, and a fully bound maple body in a dark brown finish. It has a black finish deep V neck with Thirties Nick Lucas pearl inlays starting on the 1st fret with a truss rod. The bound headstock features a horizontal pearl script logo, a pearl fleur-de-lis inlay and new open back Grover tuners. Trapeze tailpiece with no raised diamond, unbound suspended tortoise guard, carved rosewood compensated bridge.
1937 Gibson L-4, Rare and beautiful, the model had a roundhole from 1912 to 1935, and for some reason the roundhole was an option only in 1937. The early ones were grossly overbuilt owing to the heavy steel strings of the era and the fact that steel strings were so new, builders over-compensated with heavy tops and gigantic neck shapes. Lloyd Loar fixed all that at Gibson in the early 1920's, but unfortunately the world was left with a negative impression of the roundhole archtops. The roundhole gives these archtops a richer, deeper tone, sort of half way to a flat top, and this guitar is no exception. In fact, it's the fullest toned archtop I've ever played! It has new tuners (Grover Sta-tites) and frets (jumbo), an endpin jack with no pickup, otherwise in excellent condition, plays great, 1 3/4" nut and slim V neck.
1953 Fender Telecaster, Beautiful black-guard Tele, appropriately worn—looks fantastic—original p-u's in the case, routed under the guard for a humbucking, but has the original unaltered pickguard, set up with replacement Tele p-u's, sounds fantastic, great fat neck, refretted with oversize frets and oversprayed, all the right dated parts, 5/11/53, original camel case in very funky condition. An incredible player.
1957 Guild X150, Single P-90 style pickup with white cover, Venetian cutaway, sunburst, replaced pickguard, good sounding, exc cond., moustache pghd., replaced mother-of-toilet seat fretboard markers.
• 1958 Guild X175 SB, two pick-ups (white P-90 style). I think Ted was in the process of working on the wiring, as pickups aren't connected, though they test as working. Condition is quite good, with pickguard missing and some shrinking binding.
• 1959 Fender Jazzmaster, Sunburst, refin. to natural, orig. anodized guard, replaced saddle (from musicmaster?), neck refin?, replaced tuners. From the Ted Greene estate. Sold.
1959 Gibson ES-355T, Stereo, all original, including case, light cherry finish, a light, orange tinted color that is very beautiful, Bigsby, PAFs, ABR-1 bridge, a very collectable and playable icon, and just plain gorgeous.
1960 Gibson ES-330T Sunburst, excellent original (including orig. ABR No-Wire Bridge—worth over $500 in itself) condition except for one screw hole from a Bigby.
1961 Fender Concert, Four X 10, brown tolex, excellent condition, original speakers, grill, quality old stock tubes, great sound; from Ted Greene.
1962 Fender Vibrolux, From Ted Greene, brown tolex, narrow band, single 12" JBL E120-8 speaker, replacement handle.
1960-1962 Gibson GA-77RVT-L/Vanguard, Single 15" small magnet Jensen C15R, works quite well, or at least will once the pots get cleaned out. From Ted Greene.
1962 Guild CE-100 Capri, Wow, the condition of this instrument is amazing! A great jazz box from Guild's pre-Rhode Island days in Hoboken, when they were among the best guitar builders in the world. The box is 16 1/4" wide, only 2 3/4" deep, a Johnny Smith humbucking pickup has been attached to the end of the fingerboard with tone and volume controls cleverly mounted in the ƒ-hole without altering the guitar in any way.
1962 SG/Les Paul Standard, Cherry, excellent condition, original except for tuners and knobs, and toggle switch cover, which have all received the proper new replacements; patented humbuckers, short vibrola with pearl-inlaid ebony tailpiece, Les Paul Truss-Rod cover, original black hard-shell case. Price will go up if we find original parts! A brief statement from the owner:
"The few, the proud, the 1962 Les Paul SG. This instrument has done it's duty all over the world, literally! It has played in venues from Europe to Asia, Australia and North America, from beer bars to arenas and many a wild gathering. One of 1449 Les Paul SG's produced by Gibson that year, this particular model, with the mother of pearl inlaid ebony tail-piece, was one of less than only 200 produced.(It's anybody's guess how many exist today) Gibson produced the Les Paul SG for only two years, 1961 and 1962. Truly a rare bird, it has seen action with some quite famous San Francisco area bands of the 1960's and 70's. The current owner has had this guitar since 1965 and it has never let him down nor failed to plug directly into the cosmos. A classic in every sense of the word, this is a piece of history and one of the few remaining instruments of it's kind left in the world."
1962 Harmony Roy Smeck H57, excellent condition, auditorium (15 3/4") size, single "P13" pickup (supposedly by Gibson, a forerunner to the P90?), sunburst, half way between full and thin body (2 3/4"), replacement tuners and tunamatic-style bridge. This is a great playing, sweet sounding box, great pick-up.
1963 Gibson L7C, Sunburst, excellent condition with the original McCarty pick-up/pickguard with single P-90 built into the pickguard, also comes with a high-quality replacement pickguard; finish has typical Gibson checking and a few small dings, otherwise it has excellent gloss. A perfect example!
1965 Fender Jazzmaster, From the Ted Greene estate, Sunburst, played a lot, replaced knobs, big masonite shim in heel, presumably installed by Ted. Everything else orig, including black case. The stamp at the end of the heel reads 4AUG65B: B for Jazzmaster, Aug 1965, B neck.
1968 Gibson Johnny Smith, natural finish, excellent condition, one of the most sought-after archtops of modern times. This model debuted the first floating humbucking pickup, now the industry standard. Smith resurrected the classic X-braced top, a design used by Gibson in the 1930's. With it's increased sustain and warm, throaty tone, the X-brace has become the standard as well among contemporary archtop builders from Benedetto on. Other Smith innovations are 1 3/4" nut, 25" scale, and 1/8" narrower body. All original, with the two JS pick-ups mounted on the pickguard, original hard shell case.
1968 Gibson ES-335, Cherry finish, narrow neck, tuners have been changed and Bigsby added. The first semi-hollow body guitar, same year as Larry Carleton's.
recent Larry Pogreba Light Body, An amazing two pickup electric, one of three that Larry made for Bonnie Raitt to choose from. Made of exotic woods—the neck is Belizian redwood, the body is black poisonwood and the headstock veneer is rosewood burl. The pickups are by Jason Loller, a P-90 in the neck position and his version of a Gibson lap-steel in the bridge position. Larry is a very creative and skilled person, and this guitar of his is a true masterpiece.
• Larry says, "The two dark knobs are Volume for each pickup. The front light brown knob is a normal tone and the back one is a mid-range cut/boost—left in the center of the sweep the pickups sound stock, to the right cuts mids and gives a nice silky sound, to the left will take the paint off.
Michael Hemken 17" Archtop, Non cutaway, Carpathian spruce top, phenomenal quilted big leaf maple, binding, tailpiece and bridge are Brazilian rosewood, scale is 25.5". Michael's quest has been to design a unique archtop with superlative dynamic range and responsiveness. His fully hand-made and hand carved guitars are the best fingerstyle archtops that I've run into, with a wonderful fat bass, clear and penetrating mids and highs, a throatiness and sweetness with sustain that generally doesn't exist in the archtop realm.
• Nut, 1 3/4", Spacing at bridge, 2 1/8"
Recent Triggs New Yorker, When I first met Jim Triggs, he was head of Gibson's Archtop division, and was showing me an astounding new version of the earliest L-5 that he had built. He is now on his own, making top-flight custom archtops. This guitar is slightly used, a 17" hand-carved exact copy of a D'Angelico New Yorker. It has a single Johnny Smith style floating pickup mounted on the multi-bound colored pickguard, the classic D'Angelico engraved gold stairstep tailpiece, Grover Imperial gears on the oversize headstock with center finial.
Fritz Brothers Eddie Duran Model, The first prototype made for Eddie. This is a unique semi-hollow body with mini humbucker neck pickup and bridge piezo, top of highly figured old growth redwood, Indian rosewood back & sides, trapeze tp with tunamatic bridge, patented "internal truss" bracing, nitro finish. Eddie is a fabulous fingerstyle jazz guitarist and incredible person, and has put together his ultimate instrument. The Fritz Bros. are in Mendocino, CA and cover a broad spectrum of guitar styles, all of the utra highest quality.
• YouTube Video of Eddie demonstrating this guitar.
Eastman AR800CE, 16" round cutaway with Kent Armstrong pickup, fancy flame maple and spruce, beautiful sunburst hand-applied varnish finish, ebony pickguard and tailpiece. Top-class workmanship, playability and tone, throatier than the ƒ-hole models, creating a sort-of hybrid between the archtops and flattops.
The Loar LH-300 VS, A beautiful replica of the early 16" L-5 featuring an all-solid, all hand-carved book-matched spruce archtop, maple b&s. The top graduation duplicates the specs from original 1930's models. Nut is 1 3/4" with classic V neck.
The Loar LH-650 VS, One of the wonders of the modern age, Loar is making by far the best archtops for the $. This is all solid hand-carved and graduated, nitro-cellulose finished, strongly based on the early 16" L-5. 1 3/4" nut, 24 3/4" scale.
1928 National Tricone Style 1, 1928, round-neck, ser. #0149, one of the earliest tricones, out of German silver; in 1938, the factory installed the current Model 97 neck. The body is very likely a prototype, since it has the later style metal cone well—the wood cone wells have been seen up to around #200. This instrument has been beautifully restored by Paul Vilagi of Pacifica, CA. A missing part of the heel was replaced invisibly, and many dents have been repaired. New National-style tuners have been "distressed" to practically forgery grade, and new National cones installed—the original cones are included, along with the original funky hard shell case. The tone is superb, the neck is beautifully shaped. All in all, an extremely interesting piece!
1929 National Triolian, Walnut sunburst, excellent condition, amazingly deep and full tone, fully original, full top-quality set-up to low action, astounding instrument—they don't get much better than this!
1931 National Duolian, made for Sears, with larger holes and five sieve patterns in the coverplate instead of nine, with no logo on peghead and R prefix of the serial number. Green duco finish in very nice condition, some wear in top and around the edges, the back is really nice. The neck is in great condition, with low action and straight, fingerboard is rosewood or ebony (replaced?), the body is light-weight, with a full, rich tone.
1931 National Duolian, Green duco finish, new National cone, new fingerboard w/graphite truss rod, new aged National tuners, original bisquit, intonated. A truly great vintage National with just the right amount of wear, incredible tone, and ultimate set-up.
1932 National Tricone Style 1, #S2939, all original (tailpiece is non-functional, replaced by new one that has been relic-ized), exc. cond., neck is mahogany, 1 13/16" and very nicely shaped. Body is German silver, very few dents with very slight pitting in spots (in other words, the gloss is not shiny), some scratching on the back of the neck, tone is deep and full.
1941 National Style 0 Mandolin, 1941, quite rare and very good+ condition, first-rate set-up. Would also work great with single strings, as suggested by Radim Zenkl, who made this thing sound unbelievably sweet.
1949 Fender Pro, "T.V." front tweed amp, ground up restoration by RickTurnpaugh of Kendricks Amps: new tweed, grillcloth, handle, speaker re-cone, a/c cord, caps, tubes. Only parts that were worn out were changed. The chassis, the board, resistors, pots, knobs, lamp, jacks, switches, cloth wire, and transformers are all 50's era original parts that did not require replacing to bring her back to life.
1993 Gibson L-5 Wes Montgomery, Sunburst, mint condition, single gold Gibson humbucking pickup, a gorgeous playing and looking guitar from the first year of this model.
• Solid bookmatched handcarved fine grain spruce top; solid handcarved bookmatched tiger-flame maple back and sides; tiger flame maple neck with walnut centerstripes; solid ebony fingerboard with block mother of pearl inlays; abalone torch and headstock logo; 5-ply body and neck binding; bound f-holes; solid bone nut.
• Body size at lower bout: 17", Scale length: 25 1/2" Nut: 1 11/16"
1998 Dell Arte L. Sevillano Model, Fairly early for Dell Arte, made for them by Sevillano in Tiajuana, these are well regarded instruments, nicely made and great sounding. The big "D" sound-hole is supposed to be for rhythm, but it makes a great gutsy, fat lead instrument. New accurately intonated bridge, tuners upgraded to Waverlies, upgraded hard shell case.
• Nut width: 1 7/8", String spacing at bridge: 2 5/16"
• Scale length: 25 3/8"
2000 National Style 1 Tricone, absolutely mint, unplayed condition, reintroduction of National's first model, designed for lap-style Hawaiian playing, with a fat sound with lots of sustain, and now prized as the all-around multi-use model, since it has a more musical quality than most of the single resonator models.
2004 National K1 Custom Tricone, Custom ordered to match the color of an old red barn, with no inlays on the fingerboard, a squared-off peghead shape, fingerboard and peghead bound in ivoroid and a 1 3/4" nut width.
recent National Style 3 Tricone, A beautiful, hand-engraved "Lily Of The Valley", supposed to have originally been owned by Roger McGuinn. It's in absolutely perfect condition, and has that sweet tricone sound.
Recent National Resorocket Vintage Steel, the cutaway single-cone model developed partly in collaboration between National and us. By serendipity, this model surprised everyone with a special, strong, loud tone, I believe because of the Tricone-style grid (basket-weave) soundholes that were necessary because the cutaway dis-allowed the traditional ƒ hole. This one has been upgraded with a nickel plated coverplate and tailpiece—the original parts are included—and National's super Lace Sensor pick-up. Condition is perfect, set-up is low, owner graduated to a beautiful 30's Style 0 from Craig's List!
National "The Don", Single cone, all German silver, brand new model, here at last! 14-Frets to the body, very tasteful engraving, slotted head with pearloid veneer, unusually resonant and full. People have been asking National for a German Silver model for a long time, and here it is. They aren't making very many of them, so they will remain quite scarce (this one is #9 out of 100).
National RM-One Mandolin, Antique brass model, a recent concept for National, they were inspired by a rare pre-war wood bodied National mandolin, this new mandolin has traditional features like the biscuit bridge combined with modern touches such as an intonated saddle and a comfortably radiused fingerboard. The art deco cast tailpiece is a National exclusive. With the best modern gears, this new mandolin stays and plays in tune better than any mandolins in National’s history. The musical tone and sheer versatility of this instrument will impress many musicians. While it has all the power and projection that you would expect from a resonator instrument, it also has a sweet, woody sound with terrific tonal balance. The most common musician’s reaction is that it sounds like a fine wooden mandolin played through an excellent PA system. The new National mandolin is the perfect instrument for both the serious mandolinist and for guitarists looking for a second instrument. Sweet, yet loud; lyrical, yet powerful. The Antique Brass resonator plate is beautiful! Check out http://www.nationalguitars.com/index_ie.html for more info, photo and sound clip of Rich Del Grosso playing one
Amistar Style 0 Crossroads, Single-Cone, used, from the Czech Republic, made by the makers of the Continental. Brass body, pearloid peghead veneer, Lace pick-up system consisting of a magnetic and a piezo with two knobs to blend them. An excellent sounding resophonic, and the electronics work well, giving an extremely natural sound.
• Cash price, $1595
recent Ron Phillips Parlor, very slightly used, it is perfect except for a couple of minor dents that don't show up in the photos. Ron builds these parlors out of German silver (also called nickel silver) for its superior tonal qualities. They have quite a big sound, sweeter than you'd expect from a single resonator.
Recent John Morton Parlor Stainless Steel, this hand made (in Berkeley,CA) guitar is revolutionary, made by an artist in steel and brass who at the same time is an innovator and explorer in the world of resonator instruments. It is unique in a couple of ways: it is made of stainless steel, which is incredibly difficult to work with and, as it turns out, puts out a lot of warm sound; it is also very small for a resonator (12 3/8" wide), which happens to functionally mate with the material, since the stainless has plenty of volume. The finish is not glossed, since finger oils can ruin a gloss finish. Other features are: 14-frets to the body, flame maple three-piece neck (the laminations make it very strong). There is a UPS crack at the nut, which you probably would not have noticed if it hadn't been pointed out - the repair is flawless.
RE Phillips Parlor Cutaway, used, in mint condition, single cone cutaway out of German silver, very close to the one Del Ray has been thrilling audiences with for years. It's parlor size (Martin size 1) with a deep bass, great clarity and sustain: a remarkable instrument, and beautifully made. Neck is flame maple, fingerboard and peghead overlay are grey mother of toilet seat—very classy!
• Scale: 25.25"; nut width: 1.75"; spacing at bridge: 2.25"
RE Philips Parlor, 2005, body of German Silver with frosted finish, ultimately portable. Don't down grade this guiitar because of it's size—it puts out a lot of sound! 24.9 scale, 1 7/8" nut, 4" depth.
Recent Ron Phillips Parlor, Very slightly used in excellent condition. Ron builds these parlors out of German silver (also called nickel silver) for its superior tonal qualities. They have quite a big sound, sweeter than you'd expect from a single resonator.
Michael Dunn Weissenborn, very beautiful, out of koa back & sides, fir top (Michael says this wood sounds very much like koa but better for a top). Standard Weissenborn feather-light construction with hollow neck and rope-twist binding. This instrument has the gigantic sound of the W., and rings like a forest of bells!
1993 Michael Dunn Mystery Pacific, Cedar and Indian rosewood, possibly Michael's most esteemed model: large "D" soundole, fitted with an internal soundbox and resonator, the model was developed from the original 1930 patented design by Mario Maccaferri. A lead guitarist's dream, this guitar has unsurpassed top-end projection. The higher up the neck you play, the more the volume increases. Scale length is 25 3/16". Visually stunning!
Renaissance "Ampli-Acoustic" RS6 Fingerstyle, Gloss flame maple top, satin flame maple body, with wider nut and bridge spacing made specially for us, the Fingerstyle Guitar Capitol Of The World.' We are nuts about wider spacing!
• Nut width, 1 3/4", bridge spacing 2 5/16"
• Thinline body built like a fine acoustic, but with an added mahogany center block to cut feedback
• A Turner piezo bridge pick-up feeds full-spectrum signals to an 18-volt Turner pre-amp
• Low-noise volume and tone controls
• Designed from scratch to produce premium acoustic tone as an amplifiable, recordable electronic signal.
National Cutaway Tricone, Nickel-plated bell-brass, basically a Style 1 with cutaway added thus preserving the 12-fret body yet openning the upper frets. The most sustain and sweetest tone of the National line, and this one is very rich, warm and loud.
José Ramirez Child's Flamenco, out of cypress & spruce, by the father of the current José Ramirez and the son of the original. This is a wonderful instrument. Although diminutive in size, you won't believe it's big, strong, sweeet tone. The trebles are clear and singing; what's more amazing is the fullness of tone throughout it's range. This little instrument sounds a lot better than many full-sized guitars! There is lot's of finish wear on the top, but otherwise it is just great. The action is wonderful.
• Nut width: 1 11/16", string spacing at bridge: 2"
• Scale length: 23"
1959 Hermann Hauser II, excellent condition, an extremely rare and fine instrument in the Torres tradition, from one of the world's most highly acclaimed luthiers. The tone is clear bright and full, with an astounding body and aliveness, extremely well balanced with great separation, strong but clear, non-muddy bass, excellent carrying power, singing trebles. The action is low, with a beautifully shaped thin neck. Hauser II's guitars were played by Segovia, Julian Bream and Pepe Romero. Here is how Bream described the Hauser guitar:“ The German instrument has what I can only describe as the very essence of classicism in guitar sound; the integration of the different registers of the instrument, whether in the extreme high positions or in the low, achieves a balance that is remarkable. The bass is deep but finely focused; it is sustained but has great clarity. The treble strings have a bell-like quality and a sweetness of tone that is never cloying. The third string which, on most instruments, can sound tubby and lacking a true center, on a great Hauser had a profound ring about it, and when played softly is quite magical. And because of this concentrated focus and clarity of sound, and its consequent fine separation of detail in both contrapuntal and chordal music, this type of guitar is ideally suited for use as a concert instrument.”
2004 Jesús Bellido, Model 5, cedar and EI rosewood, French polish finish. Jesús is the son of Manuel Bellido, and a fine builder in his own right. They share his fathers shop at Paseo de las Palmas, 1 in Granada. The guitar is in excellent condition, the tone is explosive, full and balanced: strong across its whole range. Scale is 650, nut width 50 mm (2").
Ganz Emergence Beautiful Honduras Rosewood, European Spruce top, Amboyna burl rosette, Spanish cedar neck, Brazilian rosewood bridge, scale is 650mm (25.6 inches), 'Granada style' bracing.
1961 Velazquez 'El Clasico', Top of the line model from the New York shop of Manuel Velazquez, out of highest quality quartersawn Brazilian rosewood, in original excellent condition. A top-flight Hauser style concert instrument with Lansdorfer tuners, slim neck, bright, clear, strong tone. In NY Velasquez was advised to expand, hired Juan Orozco Sr. (probably the builder of this Clasico) and Titi Almadeo (teacher of Rubio) under Velazqez' design & training. Velazquez himself felt that some of the Clasicos were as good or better than his own. Bola Sete is known as playing a Clasico extensively.
1953 Velasquez, Straight grained quartersawn Brazilian rosewood, European spruce, 650 MM scale, Landsorfer tuners, repaired open center seam and two hairlines in the back, restored by San Francisco builder Alan Perlman. This guitar was made fully by Velazquez, the oldest, most established, possibly most important American classical builder. Influenced by Hauser in the smaller body, peghead and rosette.
• Action is 3.5mm and 3mm at the 12th fret
1963 Martin 000-28C, a twelve-fret 000 body with classical neck and incredible Brazilian rosewood. This guitar is in beautiful condition except for on small nicely repaired chip by the bridge from a former reglue job and slightly high action. Its tone very rich and deep.
"High" Renaissance RF6 Nylon Hybrid, Cedar top, fancy claro walnut body, All Gloss finish, beautiful colored wood purfling, this guitar is the perfect classical electric, capable of loud volumes with technique as delicate as you like, the best of both worlds.
• The thinline body is built like a fine acoustic guitar, but with an additional mahogany center block to cut feedback.
• Nut width, 1 7/8"; spacing at bridge, 2 5/16"
• A Turner piezo bridge pick-up feeds full-spectrum signals to an 18-volt Turner pre-amp
• Low-noise volume and tone controls
• Designed from scratch to produce premium acoustic tone as an amplifiable, recordable electronic signal.
SCHOENBERG GUITARS
1985 Schoenberg Soloist Cutaway, Brazilian rosewood, bearclaw Engelmann spruce, abalone torch peghead inlay, close to perfect condition. This is the earliest Schoenberg I'm aware of other than a couple prototypes. When new I sold it to a friend and wonderful guitar player, Bill Whitcomb, who played it for hours every day for years. The Brazilian is very high quality, of an unusual chocolate color, and quite dense. The tone has much beauty and clarity.
1988 Schoenberg 000 Standard, One of the very first Schoenberg 12-frets, coming from our Martin era, out of bearclaw Engelmann spruce and top quality straight grained quartersawn Brazilian rosewood. 000 size with Brazilian rosewood binding and mitered purfling as only found on the earliest Soloists. The tone is very responsive and open, with a fat yet brilliant treble.
• Pyramid bridge, slotted peghead, nut width 1 7/8", string spacing at bridge is 2 7/16"
1998 Schoenberg Standard 000C, Indian rosewood, Adirondack spruce, this one is as good as they get without exotic woods or inlay, positively perfect in tone. Pyramid bridge, ivoroid binding, our standard spacing of 2 13/16" x 2 3/8", 12-fret 000 - the ultimate box if there is one. There are some finish checks, otherwise the condition is supreme
1998 Schoenberg 000 Standard, Indian/Engelmann, pyramid bridge, solid peghead, excellent condition. This was the first Schoenberg to arrive here in CA from MA, and sold in 15 minutes. The owner has treasured it all these years, but just traded it in against a new Schoenberg 'O' 12-Fret Cutaway.
2000 Schoenberg Soloist Cutaway, cocobola and engelmann, virtually perfect condition, from our Mass. period, basically an OM. The cocobola supplies a very Brazilian-like punch which is matched by the sweeter, richer engelmann spruce. This match supplies a well-rounded tone, a best-of-both-worlds yin/yang, a specific philosophy of Schoenberg Guitars (matching top wood to b & s wood tonally).
• Nut width: 1 3/4"; spacing at bridge, 2 3/8".
2002 Schoenberg 000C Standard, 12-Fret 000 Cutaway out of Australian Blackwood and bearclaw European spruce, lightly built as was seen in the late 1920s by Martin and Gibson. Also in keeping with that early period, the finish is a lovely hand-applied varnish, which gives the wood an old-age look far more real than aging stain in a modern laquer. There is a repaired ding in the top, thus bringing the price of this lovely instrument into the reach of more potential owners
2002 Schoenberg Soloist Cutaway, Our OM model, this one from the shop of Bruce Sexauer, out of Honduras rosewood and European spruce. It is extremely light in weight, yet has a very positive, strong tone that relates more to an original OM-28 than any other sound. The neck shape is more flat in back than our usual shapes, and would be particularly desireable by a player with classical technique.
2003 Schoenberg Soloist 000C, Mahogany OM cutaway, body built by our Massachusetts shop, neck, finish, bridge and set-up done in CA by Bruce Sexauer. This is a very sweet and rich instrument, a true king among maho
gany guitars. It seems to have a very wide tonal spectrum, though the bass isn't boomy at all—it's clean and sweet. We don't know what the top is—looks a lot like European spruce, so you'll have to judge this guitar on its tonal merits, not on preconceptions, sort of a blindfold test.
• Natural finish, 1 3/4" X 2 3/8", slim neck
• A few minor dings, otherwise excellent cond.
• Pyramid bridge, very low action
2003 Schoenberg 00 Soloist, We call this model our 00-OM, in that it is an OM in all respects except it's a 00 instead of 000. This means the neck dimensions are wider and the scale is longer; thus we have a superlative concert-quality instrument in every way, just a different balance from the smaller body. This one is European spruce and drop-dead gorgeous AAAA grade Brazilian rosewood. It is very even, rich, pure toned with a sweet sparkle in the treble and open, smooth bass. Other attributes include pyramid bridge, ivoroid binding with herringbone inlay around the body, inlaid ivoroid logo in peghead veneer.
2005 Schoenberg Standard 00, Brazilian rosewood, exotic and quartersawn, and Italian spruce, both the highest grade woods. This 12-fret 00 has pearl rosette and inlay on the top, koa binding, and no backstripe, to show off the fine figure of the Brazilian rosewood. Exceptionally responsive, the lightest touch brings out bass notes from a velvet black background and trebles that threaten to float off the fingerboard, so bell-like do they become up the neck. It's more sweet than dark overall, this guitar, but you can push the darkness if you like or let the sweetness predominate. It's a rare combination -- it's clear and loud but it can be intimate, very intimate. If you ordered a custom Schoenberg, you might want it to be like this one.
• By Robert Anderson & Eric Schoenberg
2005 Schoenberg 00 Standard Cutaway, 12-Fret out of Koa and Carpathian spruce, another Bruce Sexauer/Eric Schoenberg collaboration. We modeled this one on Martin's "Style 30", a model from the early days that is one of their most beautiful designs. The top is bordered by a multi-colored mosaic purfling with a pearl rosette. We've departed from tradition in taking our standard backstripe and splitting it in half to use as the top purfling. The koa is stunning: dark-colored with dramatic tiger-striped grain, the sound is clear yet full, an enormous voice yet with a beautifully lyrical high-end, sweet and happy.
Schoenberg 00 Soloist Cutaway, Schoenberg Guitars is breathing a new life for the 00 by turning it into an OM. Long scale and wider neck width, same as an OM except for 3/4" less width at the lower bout, gives us a full concert-grade instrument with a slightly different balance. This one is EI rosewood, Alpine spruce, 14-fret Soloist, with thin pearl rosette, rosewood and maple bindings, pyramid bridge with drop-in saddle.
• By Robert Anderson & Eric Schoenberg
Schoenberg Standard 0C, Our 'Single 0' size 12-Fret Cutaway, out of European spruce and Madegascar rosewood; bound with snakewood, with nut width of 1 13/16" (with our specialized neck shape, this still feels narrow) and traditional early Martin string spacing at the bridge. These little guys have been consistently strong, full instruments. I've taken mine all over the world; Our special custom case is form-fitting with no excess unused space, and fits in an overhead with ease. Tonally, it is a big, concert quality guitar with an exciting treble that can be pulled out with very little effort!
• By Bruce Sexauer & Eric Schoenberg
Schoenberg Standard 00C, Rare black cocobolo and carpathian spruce, a small-bodied cutaway with snakewood binding, Brazilian rosewood peghead veneer, and ebony fingerboard and pyramid bridge. We've been told that only a couple of trees of this black cocobolo have been found in one location so the supply of this tone-wood is extremely limited. It has a powerful bass response that belies the size of the box, and then found an ample supply of quick, bright trebles -- the kind cocobolo is rightly known for. But with the carpathian spruce top, and even with the great headroom we find, these are trebles without edge. The tonal envelope is huge and well-balanced. Some guitars with "punch" are one-dimensional-all impact and no richness.
• By Bruce Sexauer & Eric Schoenberg
Schoenberg 00 Standard Cutaway, From the Massachusetts period but newly assembled, out of Brazilian rosewood and the top is ...? Who cares, it sounds fantastic! The treble sings—loud but sweet, with much sustain; the bottom end is clear, with no fuzz—all voices stanout equally, yet it is a big, full sound. The rosewood is not the most attractive grain, (but it's not bad) so it is a Brazilian guitar for the price of Indian.
Schoenberg 000 Standard, Rich, deep red cocobolo back & sides, Carpathian spruce top, body bound in ebony, structurally patterned strongly on Martin's 1929 12-fret 000, with thin pearl border and rosette, pyramid bridge, solid peghead. The tone is nothing short of explosive, though not edgy at all. The Coco/Carpathian combination is turning out to be very successful, since the cocobolo is bright and powerful, while the Carpathian is bassy and devoid of attack (edge). The nut width is 1 13/16" though because of the neck shape it feels narrow, and traditional early Martin string spacing at the bridge. One of the best sounding Schoenbergs ever!
• By James Russell & Eric Schoenberg
Schoenberg Standard 000 Cutaway, 12-fret 000 body out of Indian rosewood and BC Engelmann (a hybrid of Engelmann and white spruce, has a stronger and punchier sound than Eng.) made by Robert Anderson. This box has an amazing,ly rich and powerful tone, with plenty of bass and treble. A very exciting instrument.
• Rosewood binding, Soloist style.
• Abalone rosette, less pufling than usual, very tasty.
• 1 13/16" by 2 3/16"
Schoenberg Standard 000 Cutaway Koa, 12-fret 000 out of Koa back & sides and red spruce (a rare variety from Japan). It's one of those guitars with a magical sound, so musical and lyrical. You can't describe the qualities with words, except by describing the smile on the players face and the fact that they don't want to give it back.
• By Robert Anderson & Eric Schoenberg
Schoenberg 000C Standard, Koa, European spruce, cocobolo bridge and fingerboard, by Robert Anderson & Eric Schoenberg. We have done several of these; each one has been so good, it has deserved repetition, though this time we changed from red spruce to European, we think very successfully. It is our 12-Fret Cutaway body, featuring Schoenberg's much copied gentle Venetian cutaway, with cocobolo fingerboard and bridge. The Nut width is 1 13/16", bridge spacing is 2 3/8". It is a beautifully crafted instrument, not at all ostentatious, with a 1930 style Martin neck shape and a glorious tone: very musical, lyrical treble with true beauty of sound, with a strong bass with a great punch yet still plenty of that very satisfying fundamental.
Schoenberg Soloist 00 Cutaway, by Bruce Sexauer, of AAAA grade Brazilian rosewood and Carpathian spruce. The body is bound in Brazilian rosewood and maple with a thinner-than-traditional heart abalone border around the body and rosette. The peghead has our logo inlaid in ivoroid, the peghead veneer is Brazilian and the pyramid bridge and fingerboard are ebony. The combined effect is stunning, but nowhere near as stunning as the tone. There is an inner strength that comes out with the lightest touch, as if it's coming from the center of the earth. Everything about the tone is fat, while having a bright clear treble, and the bass is deep and thick.
Schoenberg 00C Standard, Tastefully narrow pearl border on the top and rosette, pyramid bridge, the Indian rosewood is straight, tight and quartersawn. This incredible guitar has a big, rich voice with a very live treble that manages to be sweet at the same time. The neck is traditionally shaped á la 1929, a subtle, flat V that is exactly the kind of shape that disappears in your hand and lets the 1 13/16" width at the nut feel small yet leave plenty of room for your fingers.
• By Robert Anderson & Eric Schoenberg
Schoenberg Soloist 000C, EI rosewood and European spruce, thin pearl binding around the top and rosette, pyramid bridge with closed-end saddle. This guitar is wonderfully sonorous—rich, very open sound, great balance, lots of warmth with a strong, clear treble; and it's actually a bunch better than that, we just can't come up with the words. The woods are the best: the best looking Indian rosewood and totally quartersawn spruce full of medullary rays.
• By James Russell & Eric Schoenberg
Schoenberg Soloist, 000 size non-cutaway out of top-grade Madagascar rosewood and top-grade Adirondack spruce, binding of snakewood, belly bridge, 1 3/4" x 2 3/8", no fingerboard inlays, Waverly tuners, natural varnish finish. This Soloist is remarkable for its bigger than usual sound and great balance.
• By Bruce Sexauer & Eric Schoenberg
Schoenberg 000C Standard, 12-Fret 000 Sunburst, Old European Spruce (from the Levin factory in Sweden) and mahogany with an exceptional light amber sunburst and Schoenberg's adaptation of an unusual S.S. Stewart banjo peghead inlay, done in abalone. The binding is imbuya, (aka Brazilian walnut), the bridge pins are fossilized ivory, the sound is from heaven (call for a more accurate description).
Schoenberg Standard 000 Cutaway Brazilian, 12-fret 000 Cutaway out of AAA grade Brazilian rosewood and BC Engelmann spruce, by Robert Anderson. Remarkably light construction, yet a solid, strong, full yet bright & clear tone. Very reminiscent of the great qualities found in Larsen Bros. guitars, particularly the Stahl; a sort of combintation of a 1930 Martin 12-fret 000 and a Stahl of similar size. I'd say that this guitar is exceptional, even among all the guitars being made today. (I know that's a strong statement, and I don't say it lightly; I'm not a hype-type, marketing kind of guy.)
Recent Schoenberg 000-28, Non-cutaway Schoenberg 000 Soloist, back and sides are Brazilian rosewood (from a 1964 Martin 000-28). The top is Adirondack spruce, with the original 000-28 binding and appointments. The tone is startlingly good; if you owned an original OM-28, you'd be thrilled if it sounded like this.
The Schoenberg 000C Standard, an all Koa 12-Fret 000 with Cutaway, is extremely gorgeous, out of the best Koa available. It stems from a conversation Bruce and I had with our koa supplier about the fact that koa varies greatly in density, and the lighter koa is far superior as top wood. I've played innumerable all koa Martins and some have been wonderful while others have been wierd, tonewise. The best one I've played was one of the two or three early 20's 000-28K's; it was big and rich with a precision imparted by the koa. This new Schoenberg is a result of these experiences, and it is truly a remarkable instrument. It's only two days old so far, with much thrill and excitement in the future hearing it mature.
Schoenberg 0C Standard, Carpatian spruce from Eastern Europe and AAAA grade quartersawn Brazilian rosewood. As in all our 12-Fret 0's, this is an exceptionally superb guitar, very rich and full, proving that size doesn't really matter. The nut width is 1 13/16" it has a pyramid bridge, abalone rosette, snakewood binding, traditional short pattern diamond & square inlays, inlaid ivoroid logo. I cannot over-emphasize the quality of this instrument enough.
• By Bruce Sexauer & Eric Schoenberg
Schoenberg 13-Fret 00C, Carpathian spruce and black cocobolo, the 13-Fret configuration is done to lower the bridge 9/16", bringing in some of the 12-fret quality of sound. This beautiful cocobolo is from a single source—a small shop in Paracho, Mexico, and has never been seen elsewhere. The Carpathian spruce is a recent find to the guitar world; it is soft, yet super stiff, and tends to add a lot of sustain and bass, while the cocobolo adds clarity and punch: a perfect yin/yang situation. Other features include pyramid bridge, bloodwood binding, logo inlaid in ivoroid. This box is one of the more surprising instruments tonewise. The sound is unbelievably big - full, powerful bass and incredible treble: too good to be true!
Schoenberg 000C Standard Mahogany, This is one unbelievable sounding guitar! It's still brand new, one day old and already outstanding. Crisp, clear, deep etc...words can't express the qualities. The box is 12-Fret 000 with a cutaway, our most popular style, woods are Adirondack spruce and mahogany, finish is a subtly shaded brown to yellow varnish, bridge is pyramid, spacing 1 13/16 x 2 3/8". By Bruce Sexauer and Eric Schoenberg
Schoenberg 00C Soloist, Sunburst, Carpathian spruce, quartersawn Brazilian, what we like to call our Cutaway 00-OM. Martin's 14-fret 00s were all short scale and mahogany; we believe that changing the specs to long scale produces an instrument with all the power and complexity of a standard 15" OM, with possibly a different eq and a smaller body for comfort. This instrument is very large sounding, with plenty of the sparkly treble that comes out of the smaller boxes.
• By Bruce Sexauer & Eric Schoenberg
Schoenberg Soloist 000C, Curly mahogany, fancy Adirondack spruce, beautiful detailing with vintage style tortoiseshell appointments (binding and peghead veneer). The Soloist is our name for the OM model: 14 frets to the body, 1 13/16" at the nut. This guitar is truly alive—intense, deep bass, with an overlay of luster in the treble, totally alive, giving out seemingly way more than you put into it. An unbelievable mahogany guitar!
• By James Russell & Eric Schoenberg
Schoenberg Canon, Brand spanking new Dreadnaught out of Mahogany/Adirondack, by our newest builder, Randall Kramer, of Truckee, CA. Randall's workmanship is impeccable and he has employed his methods of measuring and adjusting the response of different locations of the top. The result is a guitar of great power, yet balanced, clear and very alive. Adornment is straightforward: rosewood binding, six line purfling, ivoroid inlaid logo in peghead, Gotoh butterbean tuners. An extremely uncommon dreadnaught: with mediums it'll flatpick with the best of them, with lights a superb fingerpicker.
• Nut: 1 13/16", bridge: 2 5/16"
Schoenberg 000C Standard Koa, an all Koa 12-Fret 000 with Cutaway, is extremely gorgeous, out of the best Koa available. It stems from a conversation Bruce and I had with our koa supplier about the fact that koa varies greatly in density, and the lighter koa is far superior as top wood. I've played innumerable all koa Martins and some have been wonderful while others have been wierd, tonewise. The best one I've played was one of the two or three early 20's 000-28K's; it was big and rich with a precision imparted by the koa. This new Schoenberg is a result of these experiences, and it is truly a remarkable instrument.
Schoenberg 000C Standard, Koa and Adirondack 12-fret 000 cutaway. This is an exemplary guitar, very clean & pristine tone, beautifully crisp, perfect craftmanship with wonderfully curly koa. Pyramid bridge, colored purfling rosette—a very nice and unusual touch, subtle laminated peghead veneer, Brazilian rosewood peghead veneer, binding, heelcap and end plate.
• By Alan Perlman & Eric Schoenberg
The Schoenberg Quartet/Stephen Bruton Model, Our brand new model, truly a Grand Piano of guitars; it's been incubating for several years, finally brought to reality by Schoenberg luthier Randall Kramer. We call this the Stephen Bruton model, since it was Stephen's excitement, energy and belief in the idea that actually made this concept happen. It is a 12-fret 0000 with cutaway, out of European spruce and Amazon rosewood. The title of 'Quartet' comes from the 0000 size combined with its intended role as supplier of all frequency ranges, like a string quartet.
• Slot head, custom hand-made German tuners, repro Waverly 3-On-A-Plate
• Multicolored Half-Herringbone with pearl rosette
• Cutaway Flush with heel - Very Snazzy!
• Pyramid bridge
Schoenberg Standard 00 CM, Patterned on an early 00-28 with 12-frets, herringbone purfling, ivoroid binding, Martin-style herringbone back-stripe and solid peghead. This box we have altered, assembled and finished from pre-existing parts from our Massachusetts days, of Indian rosewood and Adirondack spruce, with french polished top. The tone is big, crisp and focused
Schoenberg 000 Standard Cutaway, 12-Fret 000 out of European Spruce and pernambuco, built by Bruce Sexauer. Bruce has been having some exciting success with the pernambuco, which is the primary wood for violin family bows. Recently some rare guitar-sized sets have surfaced, with Bruce being possibly the first to use it for guitars. It brings a unique voice—a very clear definition to each note coupled with a thick, solid power and projection. Combining that tonality with the amazing qualities of the 12-fret 000 body gives us one of the most exciting new sounds in acoustic guitars.
• String spacing, 1 13/16" X 2 3/8", perfect 1930 OM neck shape
• All wood binding & purflings, short patter slotted diamonds & squares
• Solid head, inlaid ivoroid peghead logo, pyramid bridge
• Custom leather-covered hard shell case
Fabrizio Alberico "Hope", Made in 2003, this has been Fab's personal guitar/demo since. It is in new condition, has never been sold, thus is being sold with full warranty. The back & sides are Brazilian rosewood, top is Sitka spruce, body is a slightly oversize OM at 15.5" wide and 4.75" deep, scale is OM (25.375").
• String spacing: 1 3/4" x 2 1/4"
Robert Anderson Model 03 Brazilian, A beautiful new guitar from Victoria, B.C. Back & sides are gorgeous fancy Brazilian rosewood; top is reclaimed Sitka Spruce that was salvaged from pilings and air dried for about 25 years. Robert split the billets from 5 foot long quarters of the actual logs. These particular tops are uncommonly rich in tone and much warmer than other Sitka. The bindings are flame maple with a tastefully thin abalone rosette. Tonally, it is loud and clear with a full frequency range: a true concert solo guitar.
• String spacing is 1.75" x 2.25"
• Scale Length is 25.25"
• Body width, 14.75"
Asturias Standard Spruce, A Schoenberg Soloist copy produced by Asturias, the former Schopenberg distributor for Japan, it is slightly smaller than an OM, with cutaway and all solid spruce and rosewood. Body is beautifully bound in maple with nut width of 1 11/16".
Baranik Retreux Parlor, We always hear about old Martins, "That's a lot of sound from such a small box". That will describe this guitar very nicely. Mike is one of the most prominent luthiers of the West Coast, and this is his newest project; top flight craftmanship and tone in a parlor/travel guitar
• Honduras rosewood, Italian spruce, both of the highest grade
• Ebony peghead veneer, fingerboard & bridge
• 1 3/4" Nut, 2 1/4" string spacing at bridge, 24.5" scale length
• Ebony Bridge and Pins with Bubinga dots
• Ebony headstock with Bubinga purflings
• Gotoh mini tuners with Black Buttons
• Black bindings with Bubinga purflings
• 13 Frets to the body
• Toned finish neck
• Side sound port
• "Retreux" is pronounced "Retro"
Laurent Brondel B4, A gorgeous 0 sized 12-Fret guitar in European spruce and figured Honduran rosewood. Laurent is a self-taught luthier, a French native living in Western Maine, having recently worked at Pantheon Guitars (Bourgeois).
Top: Italian spruce
Back & sides: figured Honduran rosewood
Neck: Cuban mahogany
Fingerboard and bridge: Ebony
Bridge & end pins: Ebony w/abalone dots
Peghead veneer: Brazilian rosewood
Binding: Bloodwood
Nut and saddle: Bone
Tuning machines: Grover Sta-Tite w/ebony
Finish: Oil varnish
Scale length: 25" (635mm)
Nut width: 1 7/8" (47.5mm)
Bridge string spacing: 2 3/8" (60mm)
Laurent Brondel A2, Carpathian spruce and Sapeleye, a beautifully made 15" wide x 4.25" deep guitar with subtle appointments and oil varnish finish. The binding and rosette are of tortoise shell, spacing is 1 3/4" x 2 5/16", scale is 25.59". Laurent is a very talented Frenchman living in Maine. He worked at Bourgeois Guitars for a while, before that he played professionally for a couple decades, mostly out of Paris. He is an excellent guitarist, and his guitars have the something special that is only found when built by an accomplished guitarist.
Laurent Brondel Essential 00, All Koa 14-Fret 00 "recession" model, a chance at a fully hand-made box by a fully established luthier for a lot less than we're used to seeing. Cosmetics are simple, yet this is an extremely beautiful instrument with elegant lines, perfect craftsmanship and a truly wonderful sound, as only the best koa-topped guitars attain. Features include:
- 25.6" (650mm) scale
- 1 3/4" nut width
- 2 3/8" bridge string spacing
- Top, back and sides: Koa
- Neck: Honduran mahogany
- Fretboard & bridge pins: Ebony
- Headplate: Brazilian RW
- Bridge, binding and end graft: Indian RW
- Tuners: Gotoh mini 510
- Nut & saddle: Cattle bone
- Oil varnish finish
- Hide Glue construction
Circa OM, Adirondack and Indian by John Slobod, head of the Bourgeois shop, former and future builder for Schoenberg Guitars. The most beautiful Indian rosewood I've ever seen, meticulous, perfect craftmanship, not fancy but super clean, almost modern, lines. Construction is very much like a Schoenberg: lightly built, traditional specs, etc. An impressive instrument in many, many ways.
Circa 12-Fret Dreadnought, by John Slobod, shop manager at Bourgeois Guitars and former-and-now-again Schoenberg luthier, a beautifully detailed reproduction (with modern touches) of one othe most exciting of all vintage guitars, the earliest dreadnought from the end of Martin's 12-fret era. AAAA grade perfect straight grain Cocobolo, AAAA master grade Englemann spruce (the heaviest and stiffest John has ever used), 1 3/4" nut, 2 1/4" bridge spacing, boxed endgraft, Hand carved radiussed slots, Custom made top and back purflings, back strip, and squares and diamonds - all made to John's specs, Bone pins. The body is 4 3/8 deep, 5/8" less than the traditional spec, thus giving it some of the characteristics of an OM.
Eastman AJ815C, We had the first several of this remarkable model, this is the last one. Hand carved maple b&s make these a special occurrence in the history of guitar making. The woods and finish are gorgeous, the neck shape is to-die-for, the 15 1/4" body just the right size. This model has, interestingly enough, been chosen by professional players who usually play great old vintage instruments—the sound is special and different, while the neck feels great.
• 1 3/4" nut, 2 3/16" bridge spacing
Eichelbaum OM, A new direction for Southern California luthier David Eichelbaum, this instrument is a true "Vintage" style Martin OM. Features include:
- 500 year old Quartersawn Brazilian Rosewood Back & Sides
- Master-grade Adirondack Spruce Soundboard with 3-ring Rosette
- Flamed Maple Binding
- Herringbone Top Purfling
- Washburn-style multi-colored Backstrip
- Adirondack Spruce Bracing Throughout
- One-Piece Mahogany Neck with Ebony Stiffening Rod as per 1931 specs.
- 1931 Neck profile w/12” radius Fingerboard
- Vintage Square-Style Headstock with Brazilian Rosewood Face
- 1 3⁄4” Nut Width & 2- 5/16” Bridge Pin Spacing
- 25.4” Scale Length
- Pre-war style Bar Frets
- Vintage Style Ebony Pyramid Bridge with 3/32” Saddle
- Bound Ebony Fingerboard
- Logo Brand on back of headstock
- Authentic Celluloid Tortis Pickguard
- Fully compensated aged bone Nut & Saddle
- Vintage-style Bone Bridge Pins (5 degree taper)
- Nickel Waverly Open-Back Tuners with nickel Butterbean Buttons
- Custom Calton Deluxe Case
This guitar represents a returning to the roots for David. He has a background as a repairman and restorer of early classic steel-strings, and has recognized that this is where his heart is. We are honored that he chose us to represent this wonderful line.
John How LBC, Ladder-Braced Concert model, a beautiful repro parlor guitar out of mahogany and Adirondack spruce. A lower bout of 13 1/2" makes this a very cozy instrument with clear, sweet tones, a joy to play and hold.
Ken Franklin Small Jumbo, "Marta", Ken is a part-time builder from Ukiah, (he teaches first grade) who bowled me over with the outstanding quality and character of his guitars. I first met this guitar ("Marta") when Ken came in and introduced himself. How unusual for a maker to surprise us with such an eye opener: this guitar is quite a home run! Back & sides are eucalyptus, (which look like incredible figured maple) Italian spruce top, and an amazingly alive, full sounding box.
• Nut width is 1 3/4", spacing at the bridge is 2 1/4", 3 7/8" depth, 15 5/16" width.
Ken Franklin Small Jumbo, "Madison" is the same box as "Marta" with Madagascar rosewood and Italian spruce, with poplar bindings. This one is a home run with all bases full! Astounding presence, clarity and fullness. A new voice in the world of guitars that sings with its own style and beauty; you must come in and hear (and see) this guitar! Construction details are impeccable, with an originality of design that is very refreshing.
• 1 13/16 nut, 2 5/16 bridge, 3 7/8" depth, 15 5/16" width.
Goodall Trad OM Adirondack spruce and EI rosewood. We'll be concentrating on their recent Trad models, which have been consistently astounding us with their incredible tone. Where does it come from? I don't know, but they are shockingly full, rich and bright sounding, and beautifully made.
• Nut width, 1 3/4", bridge spacing, 2 5/16".
Goodall Trad OM Cutaway Adirondack spruce and EI rosewood. These Trad series Goodalls have blown our socks off! Just incredible solid, fat, rich and bright tone! Features include herringbone around the body and rosette, slotted diamond pearl inlays, Waverly tuners with ivoroid knobs, white maple body and peghead binding, boxwood pins and bone nut & saddle. Scale is 25.5", spacing is 1 3/4 x 2 5/16"
Goodall Concert Jumbo Cutaway Custom, Indian rosewood and Adirondack, with curly koa binding, this jumbo body is smaller than others, 15 3/4" at the bottom bout and only 4 1/4" deep. We ordered it custom with the scalloped bracing that is found in Goodall's traditional models. The nut width is 1 3/4" with 2 5/16" spacing at the bridge, also specs from traditional models that we are particularly fond of; a powerhouse of a guitar.
Goodall Grand Concert Cutaway, A beautiful 15" jumbo shape, koa back and sides, Adirondack top, custom cutaway, superb in every way. Loud, full and punchy!
• Nut width 1 3/4"
Goodall Grand Concert Cutaway, Rosewood/Adirondack, smallest (15") jumbo from Goodall, sort of a jumbo-shaped OM. This is a powerful, yet balanced guitar; lots of bass, yet treble that fights back! Curly koa binding, 1 3/4" nut width, 25.5" scale.
Goodall 000 12-Fret, Honduras rosewood and Adirondack spruce, big, rich sound, beautiful wood. Honduras rosewood offers much of the quality of Brazilian without the humongous cost.
• String spacing specs, 1 13/16" x 2 1/4"
Goodall Concert Jumbo Cutaway Custom Koa/Ad, AAA grade curly koa with AAA Adirondack top, abalone rosette, diamond fretboard inlay. The body, peghead and fingerboard binding are E.I. rosewood; the peghead veneer, fretfoard and bridge are ebony. I like this jumbo body because it is smaller than any others, 15 3/4" at the bottom bout and only 4 1/4" deep. I ordered it custom with the scalloped bracing that is found in Goodall's traditional models. The nut width is 1 3/4" with 2 5/16" spacing at the bridge, also specs from traditional models that I'm particularly fond of.
Goodall Trad OM Cutaway, A beautiful OM with a gentle cutaway, Adirondack spruce and curly mahogany. Features include herringbone around the body and rosette, slotted diamond pearl inlays, Waverly tuners with ivoroid knobs, white maple body and peghead binding, boxwood pins and bone nut & saddle. Scale is 25.5", spacing is 1 3/4 x 2 5/16"
Guild F-47M, the newest release of Guilds Traditional Series, Flame maple, Iced-Tea Sunburst, 16" body, dovetail neck/body joint, Red Spruce top and braces, bone bridge pins. Another very exciting model from the rejuvenated Guild company.
Guild 512, A beautiful rebirth of the great Guild 12-Strings. Under their new auspices, Guild is coming on strong as one of the great reincarnations of a legendary guitar line. There is much talent and knowledge infused into the line as well as the Tacoma factory, which is receiving a major make-over. This is rosewood back and sides, D shape.
John How XC, X Braced Concert, Curly maple & Lutz spruce, with a subtle vintage looking hand-rubbed sunburst under nitro. A very sweet small guitar with a gigantic vintage vibe. 13 5/8" wide, 1 3/4" x 1 5/16" string spacing.
John How FP Cutaway, By John How of Cool, CA; a contemporary 00 (14 1/4") model with cutaway out of redwood and fancy flamed koa, x braced, dark violin stained finish. Virtually new condition.
• String spacing, nut: 1 3/4"; bridge: 2 1/4+"
• Flamed Koa fingerboard and body bindings, as well as rosette
John How XC, John's X braced Concert model, 13.5" across the lower bout, 12-Fret, slotted head and deep Sunburst Nitro finish. The body is Madagascar rosewood and Adirondack spruce, bindings are ivoroid, purfling is a multi-colored marquetry reminiscent of the early Stella Oscar Scmidt line of guitars. This is a devastatingly sweet looking paean to the past, though improved, since the originals were straight braced, which tended to give them a shallower and sometimes more strident tone.
• Scale, 24.9"; String spacing, 1 3/4" x 2 1/4"
Ivon Schmukler NL Legacy, Out of fancy mahogany and Adirondack, 24.9" scale, very lightly built, with 1/4" braces and only one tone bar, this guitar is beautifully constructed, with exquisite detailing and an old-Martin kind of sound. I've known Ivon for over forty years and know his experience in the field is deep and full.
• From Ivon's web site, http://ivonguitars.com/
Howard Klepper "The Brazilian", Back and sides of quartersawn, old-stock Brazilian rosewood, along with more Brazilian for the bridge, fingerboard, and front and back headstock veneers. The top is of flawless Swiss spruce. While many of Howard's designs are experimental, this one shows his skill at more traditional steel-string lutherie. It has a 16-inch "small jumbo" body with the 4-1/4" body depth typical of an OM, which gives it a quick response and none of the boominess often found in this size guitar. The guitar speaks with authority: full, complex, and present in all registers. And that's before any playing in! The comfortable 25.4" scale multi-piece neck has a 1-3/4" ivory nut, and traditional abalone diamond fingerboard inlays. Details include abalone borders around the top, headstock, and ivory end graft; multi-layer backstrapped (banjo style) headstock, double layer sides with side soundport, a stunning rosette of buckeye burl, and more
Howard Klepper 0, A jewell by this Berkeley, CA luthier. Howard is perhaps not as well known as the big dollar makers, but of top level skill and experience. This 12-fret, O size guitar has Brazilian rosewood back and sides, and a Swiss spruce top. Ebony fretboard with mosaic pin inlays, koa binding, Brazilian rosewood bridge. Three piece mahogany and walnut neck with a backstrapped, slotted headstock and Brazilian rosewood front and back headstock veneers. Custom three-color herringbone purfling, and a herringbone and pearl rosette. The saddle is bone; the nut and endgraft are ivory scale is 24.9". Take a look at the photos: it's gorgeous!
Howard Klepper Curly Koa/Cedar 12-Fret OO, A wonderful example from one of the more knowledgable luthiers of our current guitar renaissance. There are a couple of innovative features, such as the negative neck angle and the sound-hole port in the side, combined with some very tasty, more traditional details, like the 12-fret 00 body with pyramid bridge and slotted headstock, pearl border and rosette. Then there are the beautiful details of high-end craftmanship, like the walnut burl peghead front & back veneers with cocobolo binding all around, the laminated neck (like the classic American banjos,) the mosaic pin inlays of brass and stainless steel. The flamed koa is exquisite, and the tone is loud, fat and brilliant.
Howard Klepper 12-Fret 000, A 12-fret OOO size guitar of Swiss spruce and African Blackwood back and sides, with a 25.4" scale, nut width is 1-25/32", string spacing is 2-5/16" at the bridge. The neck is a 7-piece laminate of mahogany and pau amarillo, with curly maple and black veneers, binding and backstrip are rare curly Ceylon satinwood, fingerboard is ebony, with abalone fret markers and black mother-of-pearl side dots. The bridge is African Blackwood with boxwood bridge pins inset with hematite cabochons. The rosette is maple burl with custom half-herringbone made from mahogany, maple, and black veneers, end graft and heel cap are pre-ban African elephant ivory, with more half-herringbone at the end graft. The headstock face veneer is bookmatched Maccassar ebony, and the rear of the headstock is backstrapped with black, maple, pau amarillo, and an outer veneer of ziricote. Gold Sperzel tuners and a bone nut and saddle complete the appointments. Hand-turned strap buttons can be installed at no extra cost. It has the singing trebles typical of Klepper guitars, with a strong, deep bass that handles drop tunings easily.
Howard Klepper, 16" 14-Fret Cutaway, Cocobolo is the theme of this long-scale 16" cutaway guitar. Quartersawn back and sides, with big curls in the grain of the back. The fingerboard, bridge, and headstock veneers are also cocobolo. The top is Adirondack red spruce, with a red-brown sunburst. Redwood burl rosette and endgraft; custom curly maple and rust-colored veneer purflings, and wenge binding, Sperzel tuners. This guitar has a powerful piano-like voice that stays strong all the way from the baritone up through the trebles. 1 3/4" x 2 3/16" x 2 1/4" string spacing, hand-turned strap buttons available as a no-cost option. This was designed as a flatpicker's instrument, but should work fabulously well with fingerstyle as well. It is constructed with Howard's blend of traditional and modern. The neck is cantilevered, creating a negative neck angle, graphite rods support the neck block and the sound-hole port in the side.
Howard Klepper 00 12-Fret, A 12-fret OO with dark, straight-grained and mostly quartersawn old Brazilian rosewood back and sides, and a western red cedar top. Custom half-herringbone purflings and a great buckeye burl rosette; curly koa binding, Waverly tuners. This guitar sounds crisp, loud, and well-balanced across all registers. Three piece mahogany and walnut neck with Brazilian peghead veneer and Brazilian/maple/walnut triple-layer backstrap (back of peghead), fancy three color half-herringbone purfling, slotted-head with Waverly tuners, pyramid bridge. This is an extremely responsive, alive box, that is exciting to play. It is lightly built, with Howard's blend of traditional and modern. The neck is cantilevered, creating a negative neck angle, graphite rods support the neck block and the sound-hole port in the side.
Howard Klepper Jatoba/Cedar, New, 000 "working man's model", with Howard's unique bracing pattern, cantileverred neck and side-soundhole. The top and back are thin, which, along with the other aforementioned features, provides a very fast, percussive tone with very clear note definition. A unique instrument that is uniquely wonderful.
Howard Klepper HRW Multiscale, Port Orford cedar top, Honduras Rosewood back and sides, with the exquisite design and details Howard is known for, like a five-piece neck, double sides, a sound port and an elevated fingerboard. This one has the openness of a great vintage parlor guitar, but it's a parlor on steroids--sheer power in the piano-like bass combines with a ringing treble so it can go from a purr to a roar instantly and beautifully. Tonally, it's a rare match of delicacy and muscle.
Howard Klepper Pernambuco OM, Pernambuco, sometimes called "The Music Tree" in its native Brazil, is unexcelled as a choice for guitar backs and sides. Its elasticity, low damping, and high speed of sound transmission have made it the wood of choice for violin bows for centuries. Guitar sets are only occasionally available. It lends a unique clarity and focus to a guitar's sound in all registers without harshness in the treble or boominess in the bass.
This guitar by Howard Klepper is in the OM style with a 15" lower bout, 14 frets to the body, and a 25.4" scale. It has a 1-3/4" ivory nut and 2-5/16" string spacing at the bone saddle. The top is European spruce with bearclaw figure. The bridge, binding, fretboard, and outer headstock veneers are Madagascar rosewood. Among the guitar's appointments are Howard's custom curly maple purflings, including half herringbone around the top and a herringbone backstripe, camphor burl rosette and end graft, multipiece mahogany, maple, and walnut neck with backstrapping at the headstock, a bound side soundport, snakewood bridge pins, and a custom patterned pickguard. It has Gotoh 510 tuners, a nitrocellulose lacquer finish and includes a hardshell case.
Randall Kramer Great Basin, a 12-Fret Cutaway with stunning Sunburst finish, out of Italian spruce and East Indian rosewood. Body is 15 5/8" wide, 4 1/4" deep, scale is 25", nut width is 1 3/4". Impeccable workmanship, with some lush details such as a flush joint between the cutaway and the neck heel, delicate wood binding and perfect miters everywhere; a true work of art. Tone is rich and sweet: lots of warmth, with perfectly balanced treble.
Randal Kramer Prairie Grass Cutaway, Fiddleback AAAA koa top, back & sides, fiddleback maple bindings, spalted maple rosette, heel cap & tail wedge, exquisitely detailed, perfect craftmanship with such details as the cutaway to neck-heel flush joint.
Randall Kramer Big Sky, from the Truckee, CA shop of this small-output, single-person luthier comes this subtle delicate looking yet powerful sounding box, out of super fancy "Firestorm" Brazilian rosewood and bearclaw Italian spruce, reminiscent of the Gibson L-00 shape, with 14-frets to the body, 14 1/2" lower bout, 1 3/4" at the nut, 2 5/16" at the bridge, golden flame koa purflings with Macassar ebony bindings surrounding the body and peghead, koa and spalted maple rosette. This is another stunning work of art from Randall ("Sparky").
Randall Kramer Great Basin, a strikingly beautiful small jumbo from this wonderful craftsman from Truckee, CA, out of Brazilian rosewood and Engelmann spruce. As we've come to expect from Sparky, this guitar is a tonal wonder—powerful across the board—and a dream to play. The binding, fingerboard and bridge are Brazilian rosewood, the purfling is flamed koa, scale length is 25 1/2", nut width is 1 3/4, tuners are Gotoh 510.
Kramer Prairie Grass 12-Fret Cutaway, A mini Dreadnought shape, 12-frets to the body with cutaway, out of European spruce and quartersawn Madagascar rosewood, maple purfling and koa bindingThis is another example of Sparky's outstanding workmanship, eye for beauty, ear for sound and understanding of the subtleties that make an instrument feel so right.
Kramer Great Basin, Another masterpiece by Truckee luthier Sparky Kramer. Top of Western Red Cedar, Back and Sides are Spanish Olive; Braces: Adirondack Spruce; Backplate & Bindings, Fiddleback Maple; Rosette, Spalted Maple; Scale, 25.5"; Nut, 1.75".
Kramer Prairie Grass Narra, Sparky's newest, his second with the sound port. The first was extremely successful - and so is this one. The back & sides are Narra, a rare hard wood native to the Solomon Islands (South Pacific, east of Borneo). Binding and headstock overlay are Madagascar rosewood, rosette is Madagascar and koa, nut is 1 3/4, scale is 25.5". This box has a clear fundamental, like mahogany, with beautiful overtones somewhat reminiscent of rosewood
Kramer Big Skye, Another strikingly beautiful 14 5/8 wide 14-Fret guitar from this wonderful craftsman from Truckee, CA, out of Ziricote and European spruce. As we've come to expect from Sparky, this guitar is a tonal wonder—powerful across the board—and a dream to play. The headplate, back headplate and rosette are matching ziricote, scale length is 25 1/2", nut width is 1 3/4, bridge is 2 1/4", tuners are Gotoh open/butterbean style.
Kramer Big Skye, Another stunning creation from Randall (Sparky) Kramer. This one is out of more stunning than usual woods: Back & sides of extremely rare "Firestorm" Cocobolo and bearclaw Italian spruce.
AJ Lucas Arbor Eco, I met Adrian at the Stamford, Eng. Guitar Festival, and was quite impressed with his beautiful guitars. This model utilizes local woods, tilt neck, side soundport, cutaway.
Soundboard: 80 year-old reclaimed douglas fir
Back and sides: English yew
Neck: laminate of reclaimed mahogany (Ithink it's African) and English cherry
Fingerboard: English walnut
Bridge: English yew
Scale: 650mm (approx 25.6")
Nut width 45mm (1 3/4")
Body depth at tailblock: 105mm (4 1/8")
Machine heads: Gotoh
Case: Hiscox pro II
Martin OMC-16E Koa, A simple yet beautiful combination of qualities that together might be all the guitar you would need for a lifetime of personal and/or professional music. First and foremost, (I'm quite biased here inj that I've been fixated on OMs for years) it's an OM, which is close to the ideal box. Secondly, it has the Schoenberg cutaway (about which I'm also very biased); koa and spruce is a wonderful combination; and Fishman's new Ellipse pick-up system blends an internal microphone with an under-the-saddle pick-up with controls that are brilliantly mounted inside the soundhole instead of cutting a hole in the side.
• Nut width, 1 3/4", bridge spacing, 2 1/4"
Martin OM-35, a rosewood OM model with "35" appointments: three-piece back, bound fingerboard, no volute, low profile (non "V") neck shape. A few years ago Martin had an OM-28 model that was quite successful. It was replaced by the more expensive OM-28V which meant that with the only choice available, one had to fork over for vintage appointments, including the "V" neck. Now we once have the choice with this model that is very similar to the old OM-28—very affordable with the top-end tone and a super-nice neck shape.
Martin 000-28VS, The 'S' stands for 'Standard', as the 12-frets were the only style from Martin for their first almost 100 years. The 12-fret 000 is considered by some (including me) to be Martin's best sounding box. This reissue is a part of their estimable effort to bring back the great models from their "golden era". Comes with the "Geib Style" hard shell case by TKL. Sitka spruce, Indian rosewood. "By the way, did you know that this baby really sings.... Awesome little guitar... I can feel the bass vibrate our oak floor when playing .... Luv it...(Mark Poole, customer—bought a 000-28VS)
• Slotted peghead
• Nut: 1 13/16"
Martin Custom OM-21, A favorite model of ours with an appealing upgrade of Adirondack spruce top, ebony fingerboard & bridge and delrin pickguard. Cosmetically simple, in keeping with the concept of Style 21 - professional grade with affordable price.
• Nut 1 3/4"; Bridge 2 1/4"
Martin 00-18H GM Custom Edition, For many years, a friend of mine has owned a beautiful 00-18H from around 1940, one of an unusual run of sunburst Hawaiian (lap style) mahogany 00s that Martin made for about 5 years back then. This friend of mine is also a friend of Geoff Muldaur's, and Geoff recently ended up with the 00 to use as a back-up for his 00-40H—no guitar could replace the 00-40H, since it's one of the most beautiful sounding guitars. When Martin approached Geoff to do an endorsee model, he chose to emulate the 18, with the sunburst finish, Adirondack spruce, mahogany as well as other smaller details. These have been selling extremely well because of their wonderful, unique tone. A very successful model, all around!
• This one is #7
• Nut width 1 13/16"
Martin OM18 GE Custom, The fabulous recent model, customized with Waverly butterbean tuners (instead of the model's usual banjo tuners), modern closed-end saddle slot, and a beautiful Amberburst finish.
Martin OM-42 Koa, a stunning instrument, with beautiful fiddle-back koa and spruce, a favorite combination of mine that brings brightness and clarity with plenty of bottom-end. The neck shape on this one is my favorite current Martin shape.
• Gold Waverly tuners.
• 1/4" scalloped braces
• Ivoroid binding, wooden purflings nextt to body pearl
• Nut, 1 3/4"; bridge, 2 1/4"
• Low profile neck shape
Martin 000-18 GE, Based on the 1937 000-18, Martin is going through a heady renaissance with vintage-based models. In the old days, when I was first getting into this business, the only good instruments were the old ones. Now you have to think twice—these Golden Era and Authentic models are absolutely amazing! Top ofquartersawn Adirondack spruce, mahogany b&s, ebony fingerboard and bridge.
Martin OM-30DB Pat Donohue, Absolutely gorgeous 000 14-Fret with Style 30 apointments: colored purfling around the top and abalone soundhole rosette, wide neck with the slotted headstock, designed by fabulous fingerstyle player Pat Donohue, of "Prairie Home Companion." The one real departure from OM specs is the deeper body, giving the guitar a fuller, airier tone.
• Scalloped Adirondack braces, ivoroid binding, style 30 multicolored wood top trim, 45-style abalone rosette, Delmar tortoise pickguard, pyramid bridge. Modified V neck, 25.4" OM scale, bound slotted peghead with torch inlay, style 30 inlays, bone nut, fossil ivory drop-in saddle, bone bridge pins with abalone dots. String spacing at bridge is 2-5/16", 1-13/16" nut, Waverly 3-on-plate gears with ivoroid buttons. Inside label signed by Pat Donohue and numbered in sequence without total.
Martin 0000-18 GE Custom, ordered by us, this guitar has standard 1930's style 18 appointments, including Adirondack top, mahogany back & sides, tortoiseshell binding and ebony fingerboard & bridge. The most interesting factor for me is thinner braces than standard for the 0000/M models previously, giving a richer tone.
Martin Custom 000-18SGE, A custom 12-Fret 000 out of Mahogany and Adirondack, with vintage Amber Sunburst. This is an extremely successful Golden Era Martin, tonally as well as visually. Features are slotted head, belly bridge with old-style saddle, Waverly tuners, 1 7/8" nut width and 2 5/16" bridge spacing, scale is 24.9". There is some (very minor) shop wear, so is being sold for a used price, though still with full warranty
Martin 000-28 Cutaway Custom, 12-Fret Cutaway, slot-head, Adirondack/Indian, herringbone purfling, long scale, pyramid bridge. A model that has become possibly the most popular Schoenberg, now we've ordered a version from Martin's Custom Shop. The 12-Fret 000 could be considered Martin's best sounding box; my focus on the OM for so many years is because it is the closest to the 12-Fret 000 with more access to the higher frets. Now, we just add the cutawauy to the 12-fret body and, voila!, even better access.
Martin 000-18 Authentic 1937, OOO sized version of the above, like having a time machine to go back to 1937, buy a new 000-18, hop back on the time bus and get off at 'now', with your brand-new 1937 000-18. This one is natural finish, mahogany and Adirondack, and custom set-up to wherever you want it.
Martin OMC-28 Custom, A customized OM28V, with Cutaway, Adirondack top, Indian rosewood back & sides, herringbone binding, vintage spacing, and low profile oval neck shape. The intent is to add features that add to the playability and sound while eschewing those vintage features that add to the cost. The recent Martins we've been recieving have been well above the norm, and offer startlingly remarkable tone.
Martin D-18 Authentic; The furthest step so far by Martin in their vintage reproduction series, the Authentic incorporates many more of those features that have created the "old Martin" mystique, such as hide glue construction, old style "T" bar, truer vintage specs and materials, as well as cosmetic vintage touches. On top of all this, it's gratifying to note that the model chosen is the high-X braced D-18, which has been one of the true standouts from the 1930s. The bassiest of the bracing patterns with the light construction of the time combined with the clarity of mahogany and Adirondack seems to be one of those magical yin-yang connections. Now that the originals have reached the financial stratosphere, mere mortals can have the Authentic. Our third D-18 A - this has been an extremely popular model!
Martin OM-45 Marquis, Indian rosewood back & sides, Adirondack (red) spruce top and braces, pearl at every joint (Martin's original description of style 45). Similar to the early 45's, the pearl binding is surrounded by wooden inlay lines instead of plastic. I don't know why it is, but the style 45 usually has superlative tone quality, and this one is no exception: the sound is more than superlative, even on its first day in public!
Martin 00-28 Cutaway Custom, 12-Fret Cutaway, slot-head, Adirondack/Indian, herringbone purfling, pyramid bridge, Low Oval neck. We love to order customs from Martin which combine our favorite qualities. The idea of a Cutaway 12-Fret is intriquing in that it offers full access (better than a 14-Fretter) with the very appealing tone of a 12-Fret body. The 00 size has been grossly under-represented in the catalogues of modern guitar manufactures, unfortunately so, since they seem to offer a perfect balanced tone and ultimate comfort of playing. The recent Martins we've been recieving have been well above the norm, and offer startlingly remarkable tone.
• Nut: 1 13/16", Bridge: 2 3/8", Scale: 25.4"
• Inlay: Diamond & Squares, Short Pattern
• Binding: Grained Ivoroid
• Neck Shape: Low Profile
• Bridge: Pyramid with Drop-In Saddle
• Tuners: Waverly Individul Nickel
Martin Custom 000-18 12-Fret Cutaway, New, ordered by us out of Adirondack spruce with mahogany back & sides, Adirondack braces á la Golden Era, hide glue construction, vintage style 18 specs (purfling, ebony fingerboard and bridge, etc.), solid head w/Waverly individual tuners, straightline bridge, modified low oval neck w/ 1 13/16"-2 3/8" spacing. All the specs don't mean a thing until you play and hear this amazing instrument, proof that they can make them as good as the old days. I feel this is their best current neck shape, and the sound must be experienced to truly appreciate.
Martin MC-18 Woody Mann, A wonderfull, extremely light, simple playing machine, from a wonderfull player. Woody is a blues player nonpariel who has bridged the gap into fingerstyle jazz. One might wonder what Blind Blake might sound like if he had lived and become infused by the jazz era: it could easily be where Woody is wandering these days. The guitar is the 0000 or "M" body, 16" wide and 000 depth, with added cutaway, out of Adirondack spruce and mahogany. Wide spacing, scalloped braces, small rectangular bridge, low profile neck and simple cosmetics. It's as light as any vintage Martin and sings with a sweet, full voice. A very exciting instrument!
Merrill 0-18, A truly classic perfection of simplicity, just like a 1930 12-fret 0-18. Out of mahogany and Adirondack spruce, with a sparkling tone that speaks out with authority. I was playing it on the bench in front of the store and Stevie Coyle arrived, saying it sounded beautiful a half ablock away!
• Slot Head, Waverly 3-on-a-plate tuners
• 1 13/16" x 2 5/16"; Long Scale
• Tortoiseshell binding
Merrill OM-28, Adirondack/Brazilian (AAA Grade), Another stunning OM from Jim Merrill. This guitar is perfect in every detail, with an incredible powerfull yet sweet tone. The Brazilian rosewood, supplied by us, is vintage quality quartersawn AAA grade. A unique instrument of the highest quality!
Merrill Custom OM, Mahogany back & sides, Adirondack spruce top, all hide glue (Jim's first), ivoroid bound body, fingerboard and headstock, herringbone, tastefully inlaid, shaded top, pyramid bridge with closed saddle slot. The builders have considered this guitar a very special project and devoted a lot of care and time to it; they speak glowingly of it and are excited by it's gorgeous tone. It will be here next week and we'll report fully!
• It has arrived, and is beyond expectation! An early Martin slyle lght brown burst done perfectly, a subtle green tint purfling around the top, and a remarkable tone—very rich bottom end and fully balanced. A truely exciting and beautiful instrument.
Merrill OM-18, A straight-forward purebred reproduction, built as close to original specs as is possible today, with the exception of a drop-in saddle slot—a special request from us, of a 1930 Martin OM-18, except, thankfully, for the banjo pegs (this one has the vintage style nickel Gotohs). On top of that, this one is incredibly light, and has a sound that you wouldn't believe. When a mahogany box comes along with this much bass, you have the best of both worlds: that clean, sweet bottom end, and the beautiful fat treble. There is no reason to own an original anymore! Mahogany back & sides, Adirondack sides, belly bridge, OM-style teardrop pickguard, slim 1930 style neck shape
Merrill Parlor 2-40, A builder like Jim Merrill has a certain advantage over the rest of us: He can act on a whim to make a wonderful work of art like this 19th Century Parlor for the fun of it. Of course, when it was done, it demanded to be played and to be out in the world. So here it is, available to an extremely discerning appreciator of beautiful instruments. And beautiful it is, not only in form but in function as well; time dissappears when you sit down to play this guitar. Hours later you realize you forgot to eat, go to work, sleep and (I hope not) breathe. A modern reproduction of a 19th Century Martin 2-40,out of the highest quality Adirondack Spruce and incredible Brazilian rosewood with alluring vintage detailing. The lower bout is 12 3/8", 24 1/2" scale, 1 13/16" at the nut, 2 5/15" spacing at the bridge. Pearl is style 40, around the body and rosette, body and fingerboard are bound in ivoroid, pyramid bridge is pure estate ivory, slotted peghead with perfectly convex slot sides. Workmansip is impeccable, everything done by hand, since this is a unique one-off by one of the world's most premier vintage-style luthiers.
• This is a steel=string guitar, made for silk & Steel or Extra-Light Gauge strings.
Merrill Custom OM, Mahogany back & sides, Adirondack spruce top, all hide glue (Jim's first), ivoroid bound body, fingerboard and headstock, herringbone, tastefully inlaid, shaded top, pyramid bridge with closed saddle slot. The builders have considered this guitar a very special project and devoted a lot of care and time to it; they speak glowingly of it and are excited by it's gorgeous tone. It will be here next week and we'll report fully!
• It has arrived, and is beyond expectation! An early Martin slyle lght brown burst done perfectly, a subtle green tint purfling around the top, and a remarkable tone—very rich bottom end and fully balanced. A truely exciting and beautiful instrument.
Merrill OM-28, Amberburst finish, herringbone binding, pyramid bridge (with closed saddle slot), patterned after an original OM-28, of which Martin made very few in the shaded top finish (which these days is being called "Amberburst" to differenciate it from the later, much darker Gison-style bursts that Martin did in the later 1930's). This one has Adirondack top and cocobolo back and sides, which works well, being a brighter tone wood, with Jim's bassy tone.
Merrill OM-18, Amberburst finish, pyramid bridge (with closed saddle slot), our most popular guitar these days. Jim patterns his guitars as close as possible to original vintage Martins, and this guitar reminds me a whole lot of my long gone 1931 OM-18 shaded top that I owned for 15 years, except that it potentially sounds a lot better. Jim builds a lot of bass into his guitarts, which is perfect for a mahogany OM. He also does the nicest amber burst around. This box is gorgeous.
Santa Cruz Tony Rice, Forward-shifted scalloped X Carpathian spruce and AAAA grade Brazilian, herringbone top, rosette and backstripe, finest wood selection and extremely smooth and sonorous with beautiful clear highs and deep bass, one of the best sounding SCGCs I've ever played and a rare dreadnought in that it works wonderfully when played fingerstyle.
Bruce Sexauer "Companion", Single 0 Slant-fret. It is asymmetrically fretted, and uses Bruce's hybrid of standard Martin scales, being 25.4 on the low "e", and 24.9 on the high "e". Other than the asymmetry and the wood choices, the guitar cleaves very close to the American Tradition. The back and sides are quartersawn and highly figured Sapelle, an African Mahogany want-to-be which is actually quite wonderful in it's own right, the top is Italian Spruce, the fingerboard and head plate are Ziricote, the binding is Snakewood over flamed Maple purflings, and the bridge is also Snakewood and is a traditional pyramid though slightly skewed as it must be in this case.
Bruce Sexauer Companion, A Sunburst 'Single 0' Stant-Fret out of Carpathian spruce and rare black Cocabolo Negra. Bruce's 0's have been coming out as some of the best sounding guitars ever!
2005 Sexauer Dreadnought, a remarkable pre-owned Sitka and Indian Dread with amazing power and clarity. Bruce is always up for a challenge, and his few Martin-style D's have all proven to be as remarkable in their genre as his other styles are in theirs. Nut=1 3/4", bridge=2 1/4", ivoroid binding, simple inlays, all details are tasteful and beautiful. Condition is excellent.
Sexauer FT-16-D, Unique and gorgeous curly mahogany and European spruce, varnish finish, snakewook body and fingerboard binding. This is a lightly built, totally alive box with great sustain, fullness and clarity; it is in excellent standing among the world's greatest dreadnoughts.
• Cash price, $9150
Bruce Sexauer JB-00, A Malaysian Blackwood/Adirondack 00 slothead cut-a-way full asymmetric "fanned fret". 24.9 treble scale and 25.4 bass scale with a body wedge, snakewood binding on flamed maple purflings, "Felicitous Birds" inlay pattern, Italian Nicolo' Alessi tuners. This is one of those magic instruments that surprise you every time you pick it up.
Bruce Sexauer FT-16 'Penngrove', A new 16" cutaway by Bruce out of Honduran rosewood and Italian spruce, with snakewood binding, 1-3/4" at the nut and 2-14" at the saddle. Bruce sees this as his 'troubador' guitar—it is light and responsive, and great for finger-picking, but it also takes well to a flat-pick. Overall, it has the balance of a superb OM, but with more power in the lows & the mids; the highs are a cascade of light and shimmer. There is power without harshness, and surprising sustain. The Penngrove is long-scale and has inlaid egrets for fret markers.
John Slobod 00-42, An extremely beautiful pearl-bound 12-fret 00 from ex-Schoenberg builder John Slobod of Maine (former 2nd in command at the Schoenberg Guitar shop in Littleton, MA). The top is AAAA grade Adirondack with a 3-piece back of top quality Brazilian rosewood, 1-25/32 nut, 2-5/16 bridge, 25.4 scale, 12"-20" fretboard radius, 14k gold side dots, elephant ivory bridge (Estate Ivory), fossil walrus tusk pins. The craftsmanship on this box is stunning: clean as a whistle. All details, such as the wooden inlay lines on either side of the abalone binding, especially in the complex area around the fingerboard extension, are so beautifully executed. Oh, and by the way, you won't believe the big, beautiful sound that comes out of this little box.
hStewball Leadbelly 12-String, Made by Stewart Port, as a non-copy of the original long scale Stella 12-strings, with refinements from Stewart's vast experience with vintage instruments and beyond. Pin bridge, 26" scale, mahogany and spurce and tuned to a low 'B'. The tone is quite intense, and needs to be played to be believed!
Bill Tippin Crescendo, A new and amazing model from Bill Tippin, out of Brazilian rosewood and Alpine spruce. The body is closest to Martin's 12-Fret 000, yet it has 14 frets to the body. The heel and bridge are beautifully sculpted, and the peghead is a new shape for Bill, what is often called "snakehead" design in which the strings are able to run through the nut without bending, a significant advantage in ease of tuning.
Yamamoto OMY, Made in Dublin, CA, this Cutaway OM is a fully hand-made, single luthier instrument out of Madagascar rosewood and best quality European spruce. The detailing is beautifully executed, with wooden bindings, purflings and rosette, ebony peghead backstripe, and nitro finish. The tone is rich and clear with plenty of sustain; this guitar sings yet has a lot of depth. Tony is an experienced, carefull and intelligent luthier who recently went full-time.
Yamamoto Multi-Scale 25.5-27, Beautifully engineered and carried out. The scale length is 27" on the 6th string, 25.5" on the first, all of which is accomplished by slant frets. The body is wedged to make this large body very comfortable. Woods are East Indian rosewood and Adirondack spruce. It was designed for open tunings with light guage strings; the low-tuned bass strings are gigantic sounding.
• Nut width, 1 7/8"; Bridge spacing, 2 3/8"
• Body width, 17"
• Nitrocellulose Gloss Lacquer
Yamamoto OMY, Made in Dublin, CA, this Cutaway OM is a fully hand-made, single luthier instrument out of flamed koa and Adirondack spruce. The detailing is beautifully executed, with cocobolo bindings, purflings and rosette, ebony peghead backstripe, beautiful koa headstock veneer and nitro finish. The tone is very alive, sweet, with great clarity and a lyrical fat middle and high end and plenty of bass. The neck is 1 3/4" at the nut, and slim, C-shaped, the workmanship and detail are extremely fine, the lines are exquisite.
1897 Luigi Salsedo, A well known Napolitan builder of Violins and mandolins, this is one of his plainer instruments, though beautifully made. Twenty-one Brazilian rosewood ribs that are light as paper, rosewood curved fingerboard, delicate wood bindings and trim, pearl inlays around the soundhole.
• Excellent original condition, very low action.
• Includes beautiful hand-tooled black leather case.
1903 Washburn Roundback Model 122, excellent, practically as-new condition, rosewood back (15 staves), rope binding. engraved fingerboard inlays, cedar neck. Tuner plate is engraved with the Washburn name.
1906 Gibson A Model, pumpkin stop, early body style with pickguard inlaid into the top and a tasteful fleur-de-lis inlaid into the pickguard, and low bridge/neck angle. There has been an extensive repair to the peghead, done very beautifully, with peghead and half the neck refinished. The tone is loud, clear and bright.
1908 Gibson A Style, early black face with fancy inlaid peghead and fingerboard and beautiful tortoiseshell pickguard, which is both inlaid into the top as well as having a gorgeois abalone inlay in the pickguard. The instrument is extremely light weight with unusually strong, loud and full tone. Finish has been removed from the back of the neck, there is some overfinish on the top, the tailpiece appears to have been replated and it still has its original hard-shell case
1911 Gibson A-4, black face, excellent original condition except for missing tailpiece cover; beautiful rich singing tone and low action. Note the fancy inlaid Handel tuners.
1911 Gibson A-4, Blackface, beautiful, original condition, Handel tuners, including hard shell case. OK, I know I said all orig., but the bridge is actually a new forgery-grade replacement.
1915 Gibson F-2, Black face, beautiful condition, replaced tuners, the tailpiece cover is missing and it has a new original style bridge with ivory saddles. The top has beautiful patina, a perfect covering of Gibson style micro-cracking, while the finish has been worn of of the neck. There ave very few scratches or dings, no cracks. The original pickguard is in fine condition. Action is low, tone is alive, loud, tight and strong.
1917 Gibson A #34121, excellent condition, all original pumpkin top. This one is as nice as you'll ever find! Sounds great, plays great, looks great
1920 Gibson F-4,
1929 Gibson A, dark brown face with white painted Gibson logo, truss rod model. Tuners and tailpiece are replaced, still has original pickguard, all in excellent condition with very low action. Tone is sweet and loud, very pleasing
circa 1930 Stahl, By the Larson Brothers, a loud and clear Brazilian rosewood mandolin with fancy multi-colored purfling and rosette and inlaid pickguard. Peghead veneer and metal back-plate have been replaced, the front veneer by us, the back by some former custodian of this instrument
Circa 1930 Raffaele Tieri Mandola Harp, A banjo-mandolin style mandola with a wooden top similar in concept to the Paramount Tenor Harp, basically a banjo body with a wooden arched top and a resonoator integral to the wooden body. Tieri was a builder of unusual guitars, mandolins, harp guitars; all that I've seen have been fascinating and successful instruments. Photos will show all, soon.
1932 Gibson C-1, Very rare (first I've seen!) post Army-Navy model, these were made for the Kel Kroyden line—it seems no one really knows who (or what) Kel Kroyden was. We think the pickguard has been added—it looks right except it looks too new.
1937 Gibson A-00, A rare ƒ-hole model, wider body than standard for A models which was done in keeping with Gibson's change to the bigger "Advanced" L-5, excellent condition.
Regal Arch-Top, Monkey Wards by Regal, the flat top/back version is pretty common and not all that interesting. I'd never seen this snazzy arched top/back version; definitely the deluxe model. Very loud!
2001 Gibson A5L, As new condition, Highly figured maple back and sides are among the outstanding features in the overall appearance of this teardrop shaped instrument. The metal components are gold plated, and it does include the Gibson pickguard. Above all, the tone quality from this mandolin is exquisite. It rings like a bell up the neck, has a deep and full overall timbre, and the chops have the desireable "bark" produced from an excellent mandolin.
A. Lawrence Smart Mandola, A top quality hand-made carved mandola out of finest figured maple and hand-split spruce. Lawrence Smart has mandolas in the hands of Mike Marshall and Nick Forster. The builder's innovative bracing system produces an instrument with power, sustain, and balance from bass to treble, a warm, rich tone. Finished in spirit varnish with a gorgeous tobacco sunburst that has a look of age. The fingerboard is curved, out of ebony, body, fingerboard and peghead bound in ivoroid, scroll abalone inlay in peghead: the detailing is very fine. All in all, about as great a mandola as one could find.
Arrow Octave Mandolin, Carved top, Sunburst by Luthier Paul Lestock, who has become well known with his jazz mandolins, the "Jazzbo", played by Radim Zenkl, Joe Craven and others.
Collings MT 2 Blackface (sunburst back & sides), a rare—fewer than fifteen—finish for one of the best mandolins being made today. This one is barely used and sounds incredible. A fully carved top and back and is crafted with a seasoned select spruce top and beautiful flamed maple back and sides with tone bars. A radiused fingerboard extends to the 22nd fret with a graceful extension that compliments the headstock. Grained ivoroid binding surrounds the body, neck and headstock. Even the adjustable ebony bridge is custom made in our shop. Mother-of-pearl Collings logo and inlay adorn the headstock which is fitted with Gotoh tuners. The finish is high gloss lacquer. Nut Width is 1 1/8" with a radiused fingerboard.
Recent Collings MF5, As new condition, a work of art and perfection, one of the best new mandos being made today.
The Wade 1923 Loar, By Yoichi Ueda, an extremely detailed work of art, among the finest of current Loar-style instruments being built today. Top is Adirondack spruce, back & sides are beautiful flamed maple, finish is hand-rubbed spirit varnish with hand-rubbed sunburst, the Loar flower pot on the peghead, solid pearl nut. Great projection and volume, very accurately patterned after the Monroe F-5.
Eastman MandoCello 805, Totally unique, this is the only one: a proto-type, designed after the Gibson Lloyd Loar K-5, which used the body of the early 16" L-5 guitar. Eastman, of course, used the body of their AR-805, the shape of which was taken from the very same 16" L-5. This is a gigantically rich instrument, with it's bass string tuned to the C below the guitar's lowest note. Finish is sunburst varnish, nut width is 1 3/4", same as the guitar, highly flamed maple back and sides, spirit varnish finish, fully hand-carved top and back, gold-plated hardware, 3-ply binding on the headstock and body, as well as side binding.
Eastman MDC-805 Mandocello, A marvelous, heretofore unavailable instrument, fully hand-carved 16" Mandocello based on the Gibson Loar mandocello of the early '20s. We've waited a long time for this one, and lo-and-behold, it's a cutaway!
1919 Martin Style B, In excellent original condition, quarter-sawn, dead straight grain Brazilian rosewood and Adirondack spruce. The workmanship is the same perfection and grace as Martin's pre-1940's guitars.1996 Givens Legacy F-5, By Steven Weill, a former assistant to Givens, serial #12, in almost perfect condition, incredibly flamed sugar maple, Engelmann spruce. Super loud and throaty. Set up with bridge pickup.
UKULELES And BANJOS
Manuel Nunes Soprano Koa, Circa 1910-1915, exc. cond. Label intact. Manuel Nunez invented the ukulele in Portugal and brought it with him when he immigrated to Hawaii in the 1870s. Notice the beautiful arched back.
• Sold
Manuel Nunes Soprano Koa, Circa 1910, all koa, with fancy rope binding. Manuel Nunez invented the ukulele in Portugal and brought it with him in the 1870s when he immigrated to Hawaii. This is the Grandpappy of all Ukes!
Wendell Hall "Professional" Banjo Ukulele, Made by Ludwig for Hall, a popular crooner and songwriter of the '20s & 30s. It sports a heavily nickeled bronze shell, top tension set-up, walnut neck and resonator. These Ludwigs were extremely popular, and considered by many, such as George Formby, the best sounding banjo ukes, being quite loud with great clarity and punch. All original, in excellent+ condition, with original skin head and hard shell case.
1940's Aloha Soprano, all koa, made in Hawaii built by Sam F. Chang
1920's Gibson UB-1 Banjo-Uke, very sweet little thing, all original, including skin head.
Clarophone Banjo Uke, By Gretsch, this is a sweet uke with surprising volume and clarity. Really a professional grade instrument, if even for future pro toddler.
Gibson GB-1, Guitar Banjos this playable are extremely rare, and a pleasure to play. This is probably a late '20's, early '30's instrument that has been "improved" with peghead & fingerboard inlays.
1930's Martin Style 2K Taropatch, Late 1920's, excellent condition, exceedingly rare. Taropatch ukes are 8 strings, four pairs tuned in unison to the same notes as a standard uke. The majority of Martin's taropatches were all mahogany; the koa ones are have been impossible to find.
1930's Martin Style 3K Taropatch, Late 1920's, excellent condition, one possible crack or scratch in top, exceedingly rare and gorgeous! Taropatch ukes are 8 strings, four pairs tuned in unison to the same notes as a standard uke. The majority of Martin's taropatches were all mahogany; the koa ones are have been impossible to find, especially the 3K!
Circa 1940's or 50's Martin 1-C Concert, in fine condition except for a glue job on the back corner of the peghead. Martin made the best sounding uke
Regal "RedHead" Soprano, Nice early uke, all solid koa body, Champion tuners, no cracks, exc. condition, attractive multi-colored herringbone rosette, Wendell Hall decal on headstock, oval Regal label inside on back.
circa 1950's Kamaka Soprano, Possibly the most famous of Hawaii's ukulele builders, and the longest running, Kamaka was started in 1916 by Samuel Kamaka and is now being run by his grandsons.
Moore Bettah Double-Hole Tenor, All koa Cutaway, these are the nicest new ukes we've ever had! Made on the Big Island of incredible flamed koa with pearl and abalone details, workmanship is top-notch and a tone that is positively remarkable.
Moore Bettah Single-Hole Tenor, A super-fine All Koa Tenor from the Big Island, with Cutaway, sound port and orchid inlay. The koa is highly flamed, workmanship is top-notch, abalone purfling on top and peghead, nice wide neck. The tone is loud while being rich and fat.
• Asturias Concert Koa, flame koa Martin style, 17 frets and maple binding.
• Asturias AH-2 Concert Koa, Kamaka shape, 19 frets (14 to the body)
• Asturias Concert Maho, 17 fret, maple-bound, 12 frets to the body. $576
• Asturias Tenor Koa, This ukulele is the only example of this model available in this country. Beautiful koa, traditional Martin-style light construction and top-flight hand craftmanship combine to create one of the finest tenors being made today.
Pohaku Concert Ukulele, Koa top, sides & back, fully hand-made by Peter Hurney of Berkeley, CA. The Pohaku ukes are deeper than the standard concert model design, giving them a sweet, full sound that is particularly beautiful.
Pohaku Concert Deluxe, Koa top, sides & back, fully hand-made by Peter Hurney of Berkeley, CA. A fancier model, with a top inlay (by the end block) reminiscent of the Martin Style 3 inlay, and wood block fingerboard inlays.
Pohaku Tenor Ukulele, all solid koa, hand made by Peter Hurley, formerly from Oahu, now from Berkeley, CA. This is a lightly-built, deeper bodied instrument with a rich, smooth tone.
Pohaku Tenor Resonator, Made out of solid Western Big Leaf Curly Maple with a smooth lacquer finish. The resonator uses a spider bridge and cone mechanism, which has a different sound than the biscuit bridge arrangement found on most all resonator ukuleles. This set up has slightly less volume and instead of the 'bark' the other style projects when strummed it has more of a sparky bite to it. It's loud enough to play against an accordian. As with other resonator instruments its sound is mid and high biased with a weak bass response so it sounds like an old time radioor 78 record when it's played. The cover plate is molded ABS plastic and the tailpeice is nickle plated brass.
1891 Fairbanks, Double Stamp (Fairbanks and F & C), 11" head, exc. cond. 26.25" scale. Beautiful sounding classic open back, original ivoroid tail piece & hardware. Built by Fairbanks right after the F & C era, thus the double stamp. High quality skin head. The original ivoroid friction tuning pegs don't hold very well—I'd love to change them, just afraid the originality police would be offended.
1900 S.S. Stewart Special Thoroughbred, This instrument plays and sounds fantastic! It is complete with all original or very-early upgraded parts. Rim measures: 11” diameter. Patent-marked neck-adjuster. The dowel Stick has an old-style Stewart stamp partially covered by a metal plaque, the metal plaque bears no markings except the letters “PAT” on one end. New high grade calfskin head, Nyl-Gut Strings. Carved heel, ebony fingerboard, 3-layer, multi-color fingerboard underlay. Original tuners w/ grained ivoroid buttons. Original finish in excellent condition. One small inlay missing in headstock; scale: 27 7/16”.
Weymann Model 85 Guitar-Banjo, An extremely rare and interesting guitar-banjo; excellent tone, beautifully shaped neck (18 frets to the body!). The brackets actually run through the resonator - a unique design, and beautiful pearl fingerboard & peghead inlays. This, for all we know, might be the only one of theese!
Gold Tone BC-350, During the last NAMM show I ran into an old friend, Bob Carlin. The last time we hooked up was probably 25 years ago in New York. He has long since been elevated to a status as one of the great clawhammerbanjo players around. I'd downloaded several of his pieces on ITunes and have listened to them over and over. He pointed out to me something that I'd been hearing in much of the great current clawhammer playersbut hadn't realized: the banjo one hears these days is not the 10 3/4" or 11" White Laydies and Tubaphones we used to cherish—it is the 12" pot with fat and rich tones. They have scooped fingerboards in order to allow an even plunkier tone by playing as far from the bridge as possible. This emulates the Galax sound of players like Fred Cockerham and Tommy Jarrell. Anyway, Bob, looking for affordable 12" banjos, connected with Wayne of Gold Tone to create this line. The Bob Carlin signature model banjo features a 12" maple rim, Fingerboard scoop, Rolled brass tone ring, Modified dowel stick, "paramount style adjustable armrest”, No Knot" tailpiece, Vintage old timey neck design and a Renaissance head.
• For specs: http://www.goldtone.com/products/details/w/instrument/46/BC-350-Bob-Carlin-350
• To hear Bob playing his Gold Tone: http://www.goldtone.com/artists/w/id/3/name/Bob-Carlinf
John Morton Resonator Tenor, Gorgeous brass/nickel plate fully hand made tenor uke. Neck is flame maple, 4:1 Five Star tuners, 17 1/4" scale and a larger 7 3/4" cone. The tone is bright, clear, ringing loud, beautiful; the detailing is exquisite, a true work of art!
John Morton Resonator Tenor, Designed by Robert Armstrong, this is a positively gorgeous work of art! The tone is bright, clear, ringing loud, beautiful. Fully hand-made by a master metal man. Koa on the peghead overlay. Five Star 4:1 tuners. 7 3/4" cone, brass/nickel plate body.