| USED ACOUSTIC GUITARS 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. 1882 Martin 2-24, This is a lovely guitar that has lived almost its entire life in the Bay Area, originally owned by a Stanford alum from the class of 1900 who wrote children's stories and knew Jack London. The style 24 is a rare model that used different types of multi-colored wood marquetry for the top binding, soundhole rosette, trim near the endpin and back binding. The guitar still has its original "coffin" case in very nice condition (with the Martin tag that says 2-24), and so the different trims are still in bright, relatively unfaded condition and are beautiful to see. The rosette is definitely unique for Martin, we've never seen one like it before, as is the endpin marquetry. There are no cracks or damage to the body other than scuffs and playing wear. There is a repaired peghead crack that was done long ago, somewhat crudely with wood dowels, but still quite solid and not terribly obvious. The guitar has nicely working original tuners and bridgepins, but no endpin. 12” wide body, 24.5” scale, 1 3/4” nut width, 2 3/8” bridge spacing. Brazilian rosewood back & sides, red spruce top, cedar neck. Recent professional neck reset and fret level, she plays very nicely with extra light steel strings. This one is a real gem of a rare and beautiful antique Martin. 1897 Washburn Model 423, "New Model", Auditorium size, X braced Brazilian rosewood, 25 3/8" scale! An amazing, especially for 1896, solid, modern-feeling steel-string instrument. At 14 5/8" (width at bottom bout) this is unusually large and high quality for the period. Takes light gauge easily, with a slim, modern feeling neck shape and wonderful full and loud tone. Simply and beautifully adorned with pearl inlays on the 7th, 9th and 12th fret, herringbone + rosette, ivory binding and simple wood purfling lines. We've done a full set-up—reset/frets—and forgery-grade ebony bridge, otherwise all original. 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. 1890's Martin 1-21, An excellent condition early parlor with solid peghead and ivory friction tuners, strung with nylon strings. The former owner is a player who has used this guitar extensively, so it isn't a mere collector's item. There are several marks on the top, possibly done by a child (who's probably ancient by now!), a couple of 1 inch circles, a heart, and a one inch long repaired crack- see the photos; a repaired hairline crack below the bridge and one on the back and the neck may have been reset. All repairs are top quality work. 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. Tony Biehl 19.25", Circa turn-of-the-century mahogany and spruce super jumbo at 19 1/4" wide. Tony Biehl was a Davenport, IA music publisher and maker of mandolins, guitars and harp-guitars from circa 1894 until he went out of business in 1904. He and his family went on to become quite successful as musical performers. The guitar is beautifully made, with unusually fine inlay in the fingerboard and rosette. There are a number of professionally done repairs: cracks, refinish etc. 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 Martin 00-17, 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 17; 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 may 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. 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! 1910 Martin 0-17, Mahogany back & sides, Spruce top (most likely Adirondack); from before the days of the mahogany tops, style 17 referred to the lack of binding around the back. Another distinctive detail is the back stripe of a single band of maple purfling. Also, cedar neck, ebony pyramid bridge and fingerboard. Everything seems to be original, and there are a couple of well done minor repairs. It's been set up perfectly, as playable as any modern instrument, except with ten times more sound. • Signed inside by FH Martin. Comes in an old reconditioned wooden coffin case. • Historical note: Mahogany Martins were first listed in the 1909 catalogue, first made in 1910; this was the 11th guitar out of mahogany. 1919 Martin 0-42, Excellent all original condition except for three tight professioally repaired top cracks. This is a featherweight guitar that holds extra-light strings very well. Neck shape is slim and comfortable with 1 7/8" X 2 3/8" string spacing, full abalone top and soundhole purfling, and now, since returning from our repair shop, plays great with low action. This is indeed a beautiful work of art! 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 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. 1919 Martin 00-21, A great playing and sounding 00, in excellent restored condition. We know its history from 2002, when it was sold by the Music Emporium in Lexington, MA. TJ Thompson repaired some back & side cracks, reset the neck with new bar frets, replaced the bridge, added a bridge plate overlay and did some oil varnish touch up to the finish. In 2007 it received a setup from Bill Tippin with a new nut and Waverly tuners. It handles light gauge strings very easily and has a giantly beautiful, rich tone that can only be found on therse earlier steel string masterpieces. 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. 1923 Martin 0-18, Braced for steel (two tone bars) and takes light gauge easily, excellent condition, all original except bridge plate by us. This is a very big sounding small guitar with super action. • 1 13/16" x 2 3/8" 1923 Martin/Ditson 00-18, This beautiful guitar was made for the Ditson Co. and stamped Oliver Ditson Co. / Boston / New York on the center strip and on the back of the peghead. It’s a great sounding early steel string braced Martin. Ditson was Martin’s first regular steel string customer and originated the dreadnaught design. Johnston & Boak’s “Martin Guitars: A Technical Reference” states regarding the Ditson line that “The specifications written out by Martin in 1916 called them “Ditson Hawaiian Guitars,” so it is likely all were strung with steel strings, regardless of size.” This one was made with standard Martin 00-18 specifications and is in original condition with one glued top crack below the bridge. There is some playing wear to the face which appears to have had finish lightly laid into it. Inside at the heel area there appears to have been some work done, probably a slipped heel neck reset was done in the distant past (with some not too obvious finish touchup around the back edge at the heel). It has the original engraved brass plate ivoroid button tuners which work fine, original bridge pins and endpin. Recent repair work includes fret service, new forgery grade pyramid bridge and bone nut (the original ebony nut is in the case pocket). Includes a nice new-ish archtop case. This one really has the sound, it's a great player. In comparing it with the other '20's 00-18's we've recently had, the top seems to be just a tad thicker, which really helps out the balance and clarity of the tone from top to bottom. 24.9" scale, 1 7/8" nut width, 2 3/8" bridge spacing. 1923 Martin 00-18, We love these early 00-18s. This one is all original and quite attractive; there are several expertly repaired hairline cracks in the top, and otherwse is in fine shape. Adirondack spruce and mahogany, pyramid bridge, all wood purflings—the only plastic is the tuner buttons. One of those super light instuments we have to tie down to keep from floating away. 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. 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, 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 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, Beautiful, rich and open sounding—tone doesn't get much better than this—and clean 00-18 from the early steel string bracing period in very nice clean original condition. Mahogany back & sides, Adirondack spruce top, replaced (pyramid) bridge, re-glued top seam separation below the bridge and one hairline crack next to fingerboard tongue on the treble side (both very nice and clean, hard to see), recent neck reset and fret level, intonated saddle, new ivory nut with original ebony nut in the case pocket, plays very well with a big, full tone that’s unique to these ‘20’s mahogany Martins. 14 1/4” wide, 1 13/16” nut width, 2 3/8” bridge spacing. A great guitar. Nice new archtop hardshell case. 1927 Martin 00-18, Phenomenal all original, excellent condition 12-fret 00. Mahogany back & sides, Adirondack spruce top, This is a great, all original steel string braced 00-18 from the period many players consider to be the best. It has its original flat bridge, along with original bridge and endpins, nut (in the case pocket, it's set up with a new ivory nut) and tuners. There is some pick wear to the face, a little rubbing to the back edges, some minor belt buckle rash, repaired cracks to bottom side (clean, smooth work), and a re-glued center seam below the bridge (clean work, hard to see). It's had a recent neck reset (with shim under fingerboard tongue) and fret level and plays very well. It's rare to find one of these with the original flat bridge, this one sounds amazing too. 14 1/4” wide, 1 13/16” nut width, 2 3/8” bridge spacing. The top is gorgeous, neck shape is perfect - why can't they do it like this anymore? Solid and full sounding, great action, stunning! • Very nice new archtop hard shell case. 1927 Martin 000-18, This is a very beautiful 12 fret 000-18 in excellent original condition except for accurate bridge replacement with angled saddle. There are no cracks anywhere that are visible—the heel has had some finishing. It just has some minor playing wear. It has the original bar frets, ebony nut, brass tuners and endpin, and the bridgepins are nice ebony replacements. It has had a clean neck reset, a minor and difficult to see touchup to the heel where a strap pin had been mounted a truly remarkable instrument. This is a great sounding guitar with nice fat trebles and an extended, well defined bass. It plays very easily with a perfect neck shape, 1 13/16" nut width, 2 3/8" bridge spacing and 25.4" scale. Comes with a beautiful 1930's Martin 000 case with purple felt lining in excellent condition, just a replacement handle. Absolutely stunning! • Spacing: 1 7/8 x 2 3/8" 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. 1927 Martin 000-18, This is a very beautiful 12 fret 000-18 in excellent original condition except for accurate bridge replacement with angled saddle. There are no cracks anywhere that are visible—the heel has had some finishing. It just has some minor playing wear. It has the original bar frets, ebony nut, brass tuners and endpin, and the bridgepins are nice ebony replacements. It has had a clean neck reset, a minor and difficult to see touchup to the heel where a strap pin had been mounted a truly remarkable instrument. This is a great sounding guitar with nice fat trebles and an extended, well defined bass. It plays very easily with a perfect neck shape, 1 13/16" nut width, 2 3/8" bridge spacing and 25.4" scale. Comes with a beautiful 1930's Martin 000 case with purple felt lining in excellent condition, just a replacement handle. Absolutely stunning! • Spacing: 1 7/8 x 2 3/8" 1927 Martin 00-18, #34195. This is a beautifully clean steel string braced 00-18 that sounds amazing. Excellent plus original condition with only light playing wear to the face and minor nicks to the back, no cracks or repairs except a top quality neck reset and a forgery grade straight bridge. It’s all set up perfectly and has the power to compete with many 000 size guitars. It also has a beautiful period hard case, easily a $400 case. 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 Martin 000-28/OM, The ninth OM made, was entered into the records as a 000-28. Martin must have changed the designation to OM soon after, deciding that they needed a new designation for the 14-fret bodies to differentiate them from their standard 12-fret models. Extremely rare and iimportant instrument, and an amazing player to boot!. I purchased it around 1980, had Dana Bourgeois set it up—neck reset, cleating the three top cracks, replacing the bridge and bridgeplate, new frets—I sold it then, regretted it, and ten years later when it came available again, I jumped at the chace to buy it back, for five times the price. Features: • Pyramid bridge • Small teardrop pickguard • The ultimate neck shape • Sounds "like an Orchestra" • Replaced bridge and bridgeplate, by Dana Bourgeois, around 25-30 years ago 1929 Martin 1-28P, A very rare four-string Plectrum guitar. There were only 19 made, only between 1928 and 1930, all orig exc. condition. W/orig. case 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. 1929 Trujo, Essentially an early L-2, very much like the Kel Kroydens made by Gibson about the same time. Trujo was a line made by Gibson for a Bay Area chain of teaching studios run by Velma Stevens Truett and Harry George (thus the name: Tru-Jo). One of the rarest and finest of Gibsons, this guitar is a very early rosewood bodied, natural finished, pin bridge (! - most of the other rosewood L series were floating bridge/tailpiece style, far less interesting tonally) premier tone monsters of the world. Fully original, in need of neck reset and gluing of several long back cracks. With proper finish touch-up, this Trujo can be a thig of beauty as well. Circa 1929 Gibson TG-1, Sweet, great sounding tenor guitar, the model with the banjo inlays in the peghead and the incredible Gibson sunburst finish. Body is 12 3/4" wide out of mahogany with a super tight-grained spruce top, dot fingerboard inlays, 19 frets and 23" scale. The bridge is the early Nick Lucas style pyramid shape that has been cleverly altered with a non-destructive added piece of rosewood and new saddle to correct the intonation. It's been strung in fifths with a high E, like an octave mandolin, giving it a wonderful gutsy, throaty tone like nothing else you've ever heard—very addictive! 1929 Martin 00-42, A nicely restored example of a lovely model, from my favorite year of Martin's production. French polish finish and new bridge by Mark Tossman, new fingerboard (with T frets) and pickguard by Chris Berkov. The nicest refin I've ever seen; this guitar is truly a breath-taking beauty. 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. 1930 Martin 0-17, An extremely sweet playing and sounding all mahogany 12-fret from in my opinion Martin's best year. It is 100% original with a couple of hairline repaired cracks in the side, otherwise excellent condition. The neck has been reset and the action is low. • Bar frets, ultimate neck shape • 1 13/16" x 2 3/8" 1930 Martin 000-45 Deluxe, 12-Fret 000, possibly the rarest and finest Martin in many ways, the second (Roy Rogers OM-45 Special is the first one) Deluxe, though not officially named such at the time—the records have it listed as a 000-45 Special. The serial number pre-dates the fourteen OM-45 Deluxes, with all the Deluxes falling in 1930. This instrument has been refinished by Martin in the late 1940's, as evidenced by the CF Martin decal on the back of the peghead, as on Gene Autry's 12-Fret D-45 which was refinished about that time. The decal was put there to replace the Martin stamp which loses its definition due to the refinish process. The refinish was an exquisite job, and the guitar is now, sixty to seventy years later is in absolutely beautiful condition. As Paul Ackling, T-Bone Burnette's guitar tech, just said, it's the most beautiful guitar ever. • Original hard shell case • More Photos Ca. 1930 Holzapfel 12-String, no serial number. The Excaliber of 12 string guitars, in near mint all original condition. This is a wonderful sounding and playing classic prewar 12 string. Red spruce top, mahogany back & sides, ebony fingerboard and bridge. No cracks and very little playing wear, recent fret level. Neil Harpe who wrote the article on Holzapfel in Fretboard Journal #12 called this guitar a “holy grail.” Holzapfel was a Baltimore luthier from the mid 1890’s until WWII, famous primarily for his fine violins. He made fewer than 100 12 string guitars and they are considered the finest sounding 12 string guitars ever made. Famous Holzapfel players include Mike Seeger and Spider John Koerner. Has the fattest neck you’ve ever felt, but after you get used to it it works fine. 16” body width, 4 5/8” depth, 25.5” scale, 2” nut width, 2 3/8” string spacing. New Travellite case with humidity control. $9500. 1931 Martin 0-17, A beautiful, near mint condition guitar from Martin's best period. No cracks, very little playing wear. Original nut, bridge, bridgepins and endpin, tuners replaced circa 1940 with period Grovers, an excellent upgrade. This is definitely one great sounding mahogany top Martin, with excellent balance between its bright, thick trebles and its deep authoritative bass. It has its original soft case which works fine and looks very nice except for a hole on the back corner that a mouse must have nibbled long ago. Recent work includes neck reset & fret level, new forgery grade bridge (the original is in the case pocket) and new bone saddle, all professionally done and high quality workmanship. 13 5/8” wide body, 24.9” scale, 1 13/16” nut width, 2 3/8” bridge spacing. 1930 Gibson L-0, Black finsh, 12-fret, several excellently repaired cracks, new accurately sized replacement bridgeplate, perfect restoration (very important on these older Gibsons—and seldom found), great set-up. These early 12-fret L-0s are incredibly light-weight; when we hang them on the wall, we have to tie them down to keep them from floating away. As a result, they have a unique open, clear, strong tone that we love. This one has a beautiful liquid treble and rich bottom end, with a slim, nicely shaped neck and 1 3/4" nut width. 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. 1931 Martin OM-28, Excellent original condition except for hole drilled through peghead and a store logo decal on the peghead. It's been played a lot, a long time ago, with almost all its neck finish worn off; there's a lot of finish crazing, no cracks, a few minor dings on the top and finish worn under the soundhole. The Brazilian is straight, tight grain, tuners are original Grover Sta-tites, pickguard is the later, larger shape. One of the great guitars of the Century. • String spacing: 1 3/4" x 2 3/8", though fingerboard is worn 1/16" on treble side, first fret. 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. 1931 Prairie State 427, Auditorium size (15") and just 3 1/4" deep at the end block. Fancy colored wood purflings around edge and soundhole with the Chicago style bound soundhole rim, bound fingerboard, simple and tasty pearl inlays in the peghead, fingerboard and bridge, two internal metal rods and laminated braces. 100% original and excellent condition, has been used professionally as a recording instrument and is set-up with low action. The date, "5/5/31" is stamped on the inside of the top, and a serial number 12 is written in pencil on the main brace above the soundhole. This guitar is an amazing sounding guitar, as only the Larson brothers could create. I don't bvelieve I have ever played a guitar with this much actual tone: unique, fascinating, endearing, immensely appealing, crisp, airy, solid, full, clear, balanced, beautiful. 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 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. 1932 Martin OM-45, This is one I've known about for ages. It was refinished by Phil Tafoya in Seattle in 1970. He also replaced the fingerboard with hexagon inlays. In 2000, Martin replaced the board again with the correct inlays. Braces, pickguard are original. The bridge has been replaced with the snowflake inlays in the wings retained; in 1932 several OM45s were made with this inlaid bridge only found otherwise on the 16 zom and 000-45 Deluxes. • More photos 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. 1932 Martin 1-17, A favorite model for us, not very common and incredible sweet tone, this one is a beautiful, near mint condition guitar from Martin's best period. No cracks, very little playing wear. Fully original, from very early 1932—the 122nd guitar. This is definitely one great sounding mahogany top Martin. Could benefit from a reset and new bridge. 1932-1934 Gibson L-1, Nicest one, great original condition from the original owner's family. Truly beautiful with an unusually dark finish with the small burst associated with these years, and a unique pickguard—not firestripe like I've never seen before. Tone is deep and warm, super rich, especially when heard standing in front of the guitar. White binding top and back determine it as an L-1. Comes with a photo of the original owner when the guitar and the owner were young. She's a beautiful big band singer and dancer, seen playing the L-1 with her husband, the leader of the band, on trombone. 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. • This guitar is currently for sale at Mass Street Music. We highly recommend contacting them if you're interested. 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 000-18, A superlative example, the early '34 Long Scale version, basically an OM-18. Condition is excellent original, tone is as good is it possibly gets: free, open, rich, clear, deep. A low E or dropped D that is dangerously exciting. No need for artificial stimulants with this organic member of vintage royalty! • Bar frets, ebony board & bridge, String spacing 1 3/4" x 2 11/32" • Includes the original hard shell case and deep brown Calton 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 Martin 000-18, the much more interesting long scale version, this one has had a full life of music making, having been owned by Charles Sawtelle and Nick Forster of Hot Rize and E-Town. It has seen much alteration, so not a museum collectable, but a very thrilling musical machine. It's quite solid—no cracks except for a coupleof very minor side impacts, with a refinished back & sides that could be improved, and a top that is at least overfinished, with nice color and a great vintage look. This is an amazing sounding and great playing instrument. 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 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! 1935 Gibson L-00, Fully original (except for ivory saddle and graphite nut by Uris Zelton) and in excellent condition, including original red-stripe original hard shell case, one of the nicest ones we've seen. White stenciled logo, fire-stripe pickguard, 1 3/4" nut, and super resonant. 1935 Martin C-2 Conversion, An unbelievable sounding 000 conversion by Chris Berkov, with all original parts except the top. The top is done in style '28' herringbone with proper belly bridge and long saddle, the neck is fully original with ivoroid-bound fingerboard, unbound peghead with the '45' style 'CF Martin" vertical inlaid pearl logo, original Grover G-98s, original finish on back, sides & neck and original hard shell case. Back & sides are perfect, straight-grain quartersawn Brazilian rosewood, the top is gorgeous fully silked Carpathian spruce. The finish is very worn on the back of the neck from playing, back & sides are very good++, with one possible crack on the treble side, lower bout. With the top off, cracks like these can be perfectly repaired. The tone of this guitar is something that has to be heard to be believed! There is so much power behind every note, as if the whole guitar were 75 years old! One might conclude that the back & sides are extremely important to the tone, moreso than most experts would think. 1935 Euphonon D Custom, One of two existing, both with the Larson D body and classical guitar bridge and neck dimensions. Close to perfect original condition, string spacing of 2" x 2 1/4", laminated braces, "tension built" top. This is a remarkable sounding, remarkable looking and extremely rare guitar. 1936 Gibson L-00, This guitar looks like it's been around the world with all kinds of stories to tell, and it's telling them beautifully, loud and clear. Various cracks, rough finish, 100% original including the cracks, restored by us—new frets, reglued braces, flattened top, etc. Fourteen frets, firestripe guard, sunburst, plays GREAT, and it's a screamer! You can push this guy to amazing volumes, meanwhile it sounds perfect. 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. 1936 Carson Robison by Gibson, Excellent, all original condition, still shiny (!), sunburst, firestripe pickguard, a great sounding straight-braced guitar, neck has been reset very nicely. 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 1937 Martin 00-40H, Converted from Hawaiian, these pearl trimmed Martins are often the best sounding (example: Geoff Muldaur's incredible 00-40H) and oddly enough, valued lower than other pearl models. This one has a back-of-the-neck refin and barely visible peghead crack, replaced bridge. Otherwise she is very beautiful and sounds like heaven. Circa 1937 Gibson HG-00, Black L00 originally made for lap-style, excellent repro bridge, one hairline crack in back, action is a bit high. One of the best sounding L-00s we've heard. The neck is big, like all of the Gibson Hawaiian models of this period, no truss rod 1937 Gibson L-00, Beautiful, still shiny, great set-up, replaced bridge and otherwise original. I've never heard this much bass coming out of a small Gibson. 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 1938 Washburn Solo Deluxe Model 5249, Extremely rare 14-fret 000 rosewood by Gibson similar to one played by Roy Book Binder. Body is 15.5" x 4 1/8" deep, with the standard Gibson scale length of 24 3/4". The string spacing is 1 3/4" x 2 3/8", same as an original OM-28. The B&S and neck have been refinished a long time ago, the bridgeplate looks like it has been replaced with a correct copy, everything else seems original. There are several professionally repaired cracks in the top and a first class set-up with great action. The soundhole is only 3 3/4" with with the Chicago style bound edge as rosette, tuners are snazzy open beck Klusons with amber buttons, pickguard is Gibson firestripe, and a 30's Gibson full round neck shape. This is an amazingly rare and desirable instrument, being a rosewood bodied 30's Gibson of a unique shape, and tonally is deep and rich and very fat. 1938 Gibson L-00, Sunburst with the fire stripe pickguard, a classic example of this much sought-after model, close to mint and fully original, lots of the standard Gibson finish cracks and as good sounding as any L-00 we've had. With its original soft shell case, also in wonderful condition. The Kluson 3-on-a-plate tuners look brand new. • String spacing, 1 3/4" x 2 3/8 1938 Gibson L-00, Very sweet all black L-00 with firestripe pickguard, purchased new in 1938 from Lyon & Healy, Chicago for $33.90: $5 down and $5 per month with a carrying charge of $.22/month. Included are the original bill of sale, soft shell case and bridge plate in the case. 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. 1940 Gibson L-00, Black finish, firestripe pickguard, replaced repro tuners, exc., one crack from bridge to butt, warm, sweet tone. String spacing is 1 11/16" x 2 1/8" with a full round neck shape. Original condition except for accurate replacement tuners, and structurally solid, which is important on these older Gibsons: the braces tend to be glue-challenged from the factory. 1940 Martin 0-15, A sweet example, a rare version with the tortoiseshell peghead veneer. The 0-15 is an all mahogany box with no binding, simple rosette and non-gloss finish. It was the least expensive Martin at the time, but built with the same skill and care as the best. They are prized for the sweet, warm tone of the lightly built mahogany top and scalloped braces. There several professionally repaired cracks and would need a neck reset for truly low action, otherwise condition is very nice. 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. 1941 Martin 000-18, A powerhouse of a guitar, refin, all else is original: bracing, tuners (the plastic buttons have been replaced, I think), mahogany/Adirondack, rosewood fingerboard & bridge, brown tortoiseshell binding. There is extensive checking in the finish and a couple of repaired cracks in the bass side. The top, back, treble side and neck are crack free. It's a very healthy, solid vintage Martin with a strong, rich, played-in tone that cannot be had in a recent instrument. 1941 Martin 00-17, Refinished, with original wood thickness maintained—we measured with the all-important Hacklinger guage. It's had a few repairs—the peghead has been broken and reattached, there are severl very tight repaired cracks in the top, we recently reglued the X brace so that's on super solid now. With all this, it's a very healthy guitar, with nothing in the way of it's great old Martin tone. 1942 Martin 0-18, An amazing powerhouse of a guitar, hard to believe it's a Single 0! Extremely light weight, gigantic bass with tons of volume, small neck (has the T-Bar rod), excellent refin though with some finish cracking around the heel, possibly a new bridge, otherwise original. Neck has been reset, nice low action. 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 Gibson LG-2, Just in, Banner model, spruce top, all original except for new tuners, non-adjustable truss rod, one repaired hairline in top below bridge and small pickguard crack, body has been buffed to a gloss, very solid and healthy. Loud, bright, woody, balanced and ringing tone, a great example of this wonderful, previously under-appreciated vintage Gibson model. 1943 Gibson LG-2, 1943, "Only Gibson Is Good Enough" model, sunburst, the 00 size equivalent of the Banner J-45. One of the great, unsung small guitars of the 20th Century, this is a mahogany top, which, for some reason, often sounds better than spruce on Gibsons from this period. The neck is your quintessential big, round neck that one would expect to see on a Gibson of this period, the bridge has been replaced nicely though not exactly "forgery-grade", there is one crack in the top, glued solidly and a couple of minor side cracks, the action is great, the frets look new, and the tone is very warm and sweet. You could sit down for a couple of minutes with this guitar and get drawn in and lose a few hours! 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. circa 1943 Gibson LG-2, Banner model (Only A Gibson Is Good Enough), a number of repaired cracks, mostly in the back, replaced bridge. This guitar has been around, but it is quite solid, plays well, and sounds incredible. 1943 Martin D-28, Wonderful instrument, not perfect condition, but gorgeous. The fingerboard has been replaced (by Frank Ford of Gryphon) in order to widen the string spacing a mite, and the bridge was replaced - the original is supplied in the case. There are two repaired top cracks, the spruce is perfect, super tight straight-grained and quartersawn, the Brazilian rosewood is straight quartersawn grain. The internal bracing appears to be original and healthy. The defining characteristic of this D-28, however, is that it is a veritable Tone Monster. The year 1943 has consistently come up with some of the best sounding Martins; my theory is that the spruce log of the moment was very specially. The tops certainly share a specific look, and it is gorgeous, but more importantly, these 1943 Martins share a tight, clear powerful tone of great beauty and pleasure. My guess is that the factory happened to come upon a superlative German spruce log; Adirondack is not necessarily the "best" spruce. European is no slouch and offers plenty of its own character different from the Adirondack. 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 Martin 000-28, A much played, much worn but excellent solid condition guitar, formerly owned by Nashville studio player Robert Bowlin. All original and set up to play beautifully. Recent repairs by John Arnold. New frets, original bridge has been moved for intonation, a couple of hairline cracks in back & side, Brazilian rosewood and Adirondack spruce. Very full, loud and punchy, and looks perfect. 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. 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. 1946 Gibson LG-2, This guitar has been around and played around this old world...and sounds great! We've done the Gibson rebuild—reglue bridge, flatten top, etc. So it's ready for at least another half-century 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" 1947 Martin 000-21, VG+, 15-1/8" lower bout, Brazilian rosewood back and sides, fingerboard and bridge, 1-11/16" nut width, 24.9" scale, nice dark brown tortoiseshell-oid pickguard and body binding, replacement nickel Waverly tuners (originals in case), has had reset and refretted. Finish is in overall very nice condition, new bridge plate to original specs, replaced bridge and one area of repair of couple cracks in bass side next to neck heel with a spot of darker finish touch-up, no other cracks. Tone is warm, open, nicely rich as only found in healthy, well played instruments such as this one. 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. 1948 Martin 000-28, Excellent condition, sound and set-up, 100% original, neck reset, no cracks, no nothing. This is an unusually good sounding and looking example, with a remarkably open, deep bottom end and sweet tone; the Brazilian rosewood is perfect quartersawn and straight grain. If you're looking for one of these, you'll find none better. 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 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. 1951 Martin D-28, At first look, this D-28 looks perfect, as new condition. Upon closer examination, there are several factors that suggest a possible factory refin. First of, the peghead has a perfect flat finish, front and back exactly as Martin is doing, while the rest of the neck is gloss; the pickguard is thinner than normal, as if it had been sanded on the guitar. Beyond that, this guitar has the look of a phenomenal mint condition example. The tone is big, sweet and powerful. 1951 Gibson J-45, A beautiful example in close to perfect condition, excellently set up. The tuners have been replaced with accurate replacements, neck has been reset, frets leveled, braces reglued. Firestripe pickguard, round neck shape with nut width a mite bigger than 1 11/16". A truly exciting find! 1951 Gibson LG-2, Seems to be all original except for tuners and added heel strap button, general playing wear, one deep scratch on back, no cracks, excellent action, 1 11/16" nut, small round neck shape, warm tone with plenty of punch. 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. 1953 Martin 0-15, Excellent, all original condition, all mahogany with rosewood fingerboard and bridge. Different from style 17 in that it has no top and back binding. This was Martin's entry level guitar at the time, but, as they've always done, it was made with the exact same specs and workmanship as all of their instruments. 1953 Martin D-28, A key year for Martins, the 53's have a lighter colored spruce, either Engelmann or European, that gives a particularly stellar tone. This one has been around, much used, and still gorgeous. Fully original, with a couple minor cracks, pick wear that has been lightly covered with spot finishing, finish loss on peghead and other signs of use and wear. We've reset the neck, replaced the frets and made sure the cracks were solid. The tone has tons of depth and power. 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 Gibson CF-100E, The same as the CF-100 model except with a P-90 pickup built-in at the end of the fingerboard. These, for some reason, always seem to sound exceptional, and this one in no exception. It has a spruce top, mahogany body, trapezoid mother-of-toilet-seat inlays, white bound body and fingerboard, double-crown peghead inlay and string spacing of 1 11/16" x 2 1/8". The body is the same dimensions as the LG-2 except for a deep cutaway. There is a repair in the treble side, the tuners are new reproductions of the original, condition is otherwise excellent. 1954 Gibson CF-100, A rare small bodied (LG-2) cutaway flattop, that always, for some unknown reason, sounds way better than the same period LG-2s. Mahogany back & sides, spruce top, trapezoid mother-of-toilet-seat inlays, white bound body and fingerboard, double-crown peghead inlay and string spacing of 1 11/16" x 2 1/8". Condition is excellent and original. 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. 1954 Martin D-28L, Originally left-handed, now converted, with double matching oversize pickguards, one at least of which is non-original; everything else seems to be original. A few repaired cracks, completely straight grained quartersawn Brazinlian rosewood. Now that it's getting played, the sound is blossoming into a rich, fat and very powerful force. 1955 Martin 00-18, Newly reset neck, new frets, and repro bridge by T J Thompson. There are two cracks in the back that have been repaired by Alan Perlman, there is play wear on the front on the upper bout and around the pick guard as well. There are a few nicks on the back of the neck, plenty of saddle left for future adjustments. It is very light with surprising volume and sustain for a small body and has that warm, open, and woody sound. 1955 Martin 000-18, Super nice and all original, with one perfectly done square patch in the back, other wise excellent condition. Purchased from us several years ago, and now back again with a new set-up by us, including new bone saddle. Sounds great! 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 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 Gibson Hummingbird, Early version, from the second year of production, and in this context, the earlier the better. Virtually mint original condition and wonderful sounding—warm and sweet, with a very deep bass. The best one we've seen in many years. • nut: 1 11/16" 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 000-28C Conversion, Martin's top-of-the-line classical in those days, converted to steel string with a new neck and top by Bill Tippin with his "Crescendo" bracing, 40 style body pearl neck and peghead inlay by Dave Nichols. The back & sides are the best quality Brazilian rosewood, top is Carpathian spruce, the tone is full yet with a wonderful prescence and solidity, a very engaging quality that mesmerizes. • Spacing is 1 3/4" x 2 1/4" 1963 Gibson Hummingbird, Early—the first Hummingbirds were made in 1960—great sounding with that quintessential Gibson thick bottom end, condition is VG++, a couple of very nicely repaired hairlines in top and all original, including the adjustable bridge and tulip-button Kluson Deluxe tuners. • String spacing: 1 11/16" x 2 1/8" 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 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 Guild F-30, Guild was at its best in their Hoboken days, before their unfortunate move to Rhode Island. Under Al Dronge's leadership, they produced very light, rich sounding, beautifully designed instruments. The F-30 is their 000 size, long scale model,this one being a superlative example. Excellent condition and action, amazingly full and open tone.. 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." 1955 Gibson SJ, A true classic mid-Fifties Gibson, tapered peghead, early '55 logo. We've done a full service: neck reset with wedge under fingerboard (one of the trapped dovetail Gibsons, where the top extends over the dovetail joint!), refret, reseated the pearloid fingbd inlays, reglued pickguard, steamed and pressed top flat, reglue braces, new saddle. Everything appears to be original except possibly the period Kluson Deluxe tuners. The tone is deep and powerfull, an excellent example of one of the great classics. 1968 Gibson J-160E, The quintessentiol John Lennon model, though a little later than his, an essentially electric guitar owing to the laminated top (to reduce feedback). This one has a refinished B & S, P-90 pick-up, 1 5/8 nut width, plenty of wear and plenty of mojo. 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 Bozo Bell Western, A fine example from a highly esteemed luthier, Brazilian rosewood, excellent condition. Astonishingly deep bass. The "Bell" shape comes from taking the top bout of the Dreadnaught and the bottom bout of the Jumbo. • 1 3/4 x 2 3/16, 25.5 scale 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 1978 Sexauer FT-16, An early Sexauer, in fact the guitar he kept and played for 24 years. German spruce top, Indian rosewood B & S, awonderful, alive sounding , 16 1/4" x 5" body , string spacing of 1 11/16" x 2 1/4", with elaborate engraved vine inlays on fingerboard and bridge. A behemoth, though with the free and open tone of a beautifully and lightly built instrument. There is much wear in the finish, but the guitar has no cracks and no signs of distortion: a solid, healthy guitar that will last longer and fare better than any of us! 1979 Martin OM-45, One of the earlier of Martin's reissue of the OM line, begun by the Music Emporium of Lexington (then Cambridge) MA. The Emporium placed a custom order, which was the pilot project for Martin's Custom Shop, with traditional fingerboard inlays done by Doug Ungar of Peninsula, Ohio. At the time, Martin built 100 more bodies. The first of these were released with D-45 necks, then Martin produced OM-width necks for the next batch. This guitar is one of those: it has hexagonal D-45 fingerboard inlays and the pearl CF Martin logo on the peghead, with a nut width of 1 3/4", bridge spacing of 2 5/16", scalloped bracing, teardrop pickguard and gold Grover Rotomatics. It is in excellent condition. A rare and exciting OM. 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. 1980 Gurian JR3H, The Gurian Jumbo, out of top quality East Indian rosewood and Sitka spruce, in "as new" condition. Michael Gurian started in New York, then moved to New Hampshire in 1971, where this one was built. Gurian's have had many devotees, including Paul Simon, Jackson Brown and Pierre Bensusan. • Bottom bout width, 15 1/2"; depth, 4 5/8" • Maple purfling, half-herringbone purfling • Nut width, 1 5/8", bridge, 2 1/4" • Gold Schaller tuners 1982 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. The OM had been virtually ignored since 1934 when Martin shortened the scale length because of 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" x 2 5/16" string spacing, herringbone purfling and excellent condition. 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. 1987 Martin J-21M, A not-so-common (only 229 were made) Jumbo Martin out of rosewood and spruce. Style 21 is the "budget" high end, "18" style bindings and "28" style woods. This one is from early in Martin's Jumbo years and has the "M" to let everyone know that the Jumbo is a "D" depth version of the M, or 0000 body. The "M" was dropped a couple years later as redundent once the public learned what the "J" stood for. This guitar is in excellent condition, with some finish checking and a recent neck reset by us. 1987 Martin D-45LE, mint condition, with amazingly nice quartersawn Brazilian rosewood. A limited edition of 50 guitars were made, this one being #37, to commemorate the 50th anniversary of the fourteen-fret D-45, with the higher X bracing from before 1939, 45 style appointments plus an abalone border on the sides and front of the peghead, fingerboard and sides of heel, pearl hexagon outlines on fingerboard and bridge wings. Top is signed by C.F. And all who worked on it. The tone of this guitar is extremely strong and powerful, with exceptional balance and a clean bottom end; dreadnaughts don't get much better than this! 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. Circa 1993 Washburn R306, Released as the new Washburn company's tribute to the old, original Washburn. It's between an 0 and a 00 with a 25" scale length, owned and played for many years by Peter Coyote, reworked by Danny Ferrington with thinner top finish, new bridge and other upgrades. The tone is startlingly full and rich, greatly helped by Danny's changes. 1993 Martin D-93, One of 165 guitars made commemorating Martin's 160th anniversary, featuring the high X, 1/4" inch bracing (!), Sitka spruce & mahogant, Good-plus condition, marks on back of neck; plus a dual source Fishman pickup with the Fishman Blender. Light in weight, and a truly responsive, alive sound. 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. 1997 Martin 00-40 Stauffer, A modern adaptation of 19th Century Martins, with the Stauffer peghead (think, "Fender") and black-painted neck. This one is #11 of a 1997 Limited Edition (Guitar of the Month) of 75, spruce top, Indian roswood, abalone rosette, 12 fret neck with 45-style snowflake inlays, specially designed pyramid belly bridge, X-braced for steel strings, special gold individual tuners, with original custom-made wooden coffin case. This one is nice and warm and sweet. Original list price of $7500. • String spacing: 1 11/16" x 2 5/16" 1997 Martin 000-45 Jimmie Rodgers, #14 out of a limited edition of 100, out of Brazilian rosewood, Adirondack spruce and fossil ivory. A replica of the custom 000-45 given to Jimmie Rodgers by C.F. Martin, issued to commemorate the 50th anniversary of Jimmie Rodgers historic first recordings in Bristol, TN. Very nice vintage feeling V neck and a deep, full tone, in virtually as-new condition. This one doesn't have "Thanks" painterd on the back. 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 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. 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. Original tuners are in the case, has Gibson Deluxe Tulip tuners installed. 1999 Martin Custom OMC-21, European spruce, Indian rosewood, ordered and originally sold by us and still in as-new condition. The nut width is 1 3/4", bridge spacing is 2 3/8", the neck shape is a "C" shape—Martin's Low Profile. The tone of this guitar is quite beautiful, rich, clear, balanced, a superlative OM 2000 Santa Cruz D 12-Fret, A new uptake on a venerable vintage model, SCGC's 12-Fret D is a classic in it's own way. The primariry difference is a shallower body, which cleans up the boominess in the bassiest body in guitardom. Mahogany also works well towards the same goal in the 12-Fret D. Top is Sitka, back & sides are striped mahogany, 1 7/8" nut, herringbone binding and as new condition. • Nut width is 1 7/8", Spacing at the bridge is 2 5/16" 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 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 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 Blanchard Sequoia, Out of gorgeous curly mahogany and beautifully quartered Adirondack spruce. With a small rosewood bridge plate and 16" wide, this one is built for power, but has chiming trebles without a hint of thinness. The bass is punchy but reveals that this guitar hasn't been played—it sounds almost brand new. 2001 Sants Cruz Vintage Artist, Doc Watson, who owns the prototype of the Vintage Artist, said, "This is the Dreadnought I've been looking for all my life." In 1991, Richard Hoover collaborated with vintage experts to identify the most desirable qualities of the iconic Pre-War D-18. Maestro Watson's contributions to the concept were born of an appreciation of the clarity of Mahogany's tone and his requirements for playability. advanced, scalloped X-bracing for powerful bass, complimented by the clear tone and definition of master grade Mahogany. Mahogany, Sitka, ivoroid, herringbone, scalloped, advanced X, 1 11/16 x 2 3/16, 25.375" , 16" wide, 4.755 deep. 2001 Martin OM-28 Custom, One of our own custom ordered Martins, returned to the fold. This one is Italian spruce and EI rosewood non-cutaway with vintage details: herringbone, V-neck, OM pickguard, short pattern diamond & squares, scalloped bracing and more, in excellent condition, nicely broken in and sounding remarkably rich and clear; a joy to play. • Spacing: 1 3/4" x 2 5/16". 2001 Sergei De Jonge 555, By one of Canada's most respected luthiers, out of highest grade Brazilian (with gorgeous sapwood accents) & and perfect quartersawn Engelmann, body is 15 1/2 x 4 3/8", long scale, string spacing is 1.73" x 2 3/16". This is a very rich, deep and perky sounding box. 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 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. 2002 Martin 5-28 Mini Martin, Size 5 "Terz", meaning scaled to be tuned up a minor 3rd, to G. Herringbone purfling, abalone rosette, rosewood back & sides, long pattern slotted diamond & squares fingerboard inlays, Waverly tuners with ivoroid buttons, all in mint condition. Truly a classic in recent small-bodied guitars. 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 Graziano Parlor, As new condition, by Tony Graziano, noted ukulele maker from Santa Cruz. 12-frets to the body, the lower bout is 13", scale length is 24 7/8" out of gorgeous quartersawn Brazilian and top quality Euro or Engelmann spruce, abalone rosette and pyramid bridge. The tone is wide open, coming from a lightly built instrument, with a neck shaped for classical style position, with the thumb in the back. 2003 Merrill C-18, Natural finish, serial # 86, hairline repaired crack on centerseam, otherwise excellent. From possibly the premier builder of vintage Martin reproductions. Adirondack spruce, mahogany, true 1930's construction specs. 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. 2004 Kramer Prairie Grass, An early Sparky—number 15, immaculately built slope shoulder 14-fret. Out of Sitka & Indian rosewood and in as-new condition. Warm and deep tone, with plenty of clarity, projection and tons of sustain. 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. 2005 Martin 000-28 NB, Designed by Norman Blake, excellent condition. Woods are Adirondack and Indian rosewood, with fossil pins, 1 7/8" nut, based on Martin's rare 000-28G classical which had a body shape more like a steel string, with short-scale 12-fret neck, putting the bridge way down in the center of the lower bout, resulting in a wonderful rich quality tone. 2005 Kramer Prairie Grass, Stunning slope-shoulder 14-fret out of Adirondack spruce and quartersawn Brazilian rosewood. Kramer is a highly respected luthier from Truckee, known for top-level workmanship and a strong sense of tonal development. He is the newest Schoenberg Guitars builder. Sounds like a grand piano. • Nut width is 1 3/4", Spacing at the bridge is 2 5/16" 2005 Mike Baranik CX Ser.#05198. Euro spruce top, beautiful figured straight grain Brazilian rosewood back and sides, ebony fretboard and bridge, figured lacewood rosette, top trim, headstock back trim. 15 1/4” lower bout, 4 3/8” depth at tail, 25.6” scale, 1 25/32” nut width, 2 1/4” bridge spacing, clear pickguard, Gotoh 510 tuners with lacewood buttons. Mint original condition, new old stock, Cedar Creek case. Replacement cost is currently around $11,500.00 2005 Sexauer FT-15 000, Bruce's version of a 12-fret 000 with Adirondack top and Mahogany back & sides. The woods are top class, especially the top, which is as nice as any Adirondack I've seen. The binding is wood, appears to be rosewood, with OM-style Tort-tis teardrop pickguard and short pattern slotted diamonds on the fingerboard, belly bridge, Waverly individual tuners on a solid peghead, very delicate wooden purflings with a beautiful thin zipper backstripe and stylistic three-cornered pearl inlay in the heel plate. There is a repaired (by Bruce) crack in the top from the bridge to the end. Workmanship and quality of the highest order, as we've come to expect from this top class Northern California luthier. • Nut width is 1 3/4", Spacing at the bridge is 2 5/16" 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 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 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 Santa Cruz OM, Mint condition with super tight grain Sitka spruce and Indian rosewood. A superlative example of this standard model, with huge bass tones and crystal clear highs, perfect rounded V neck and Baggs IBeam pickup. • Spacing is 1 3/4" x 2 3/16" 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 2007 Marc Maingard, GC Double Side dual bevel cutaway, #255. Figured, colorful premium Brazilian rosewood back and sides, top grade German spruce top, ebony bridge and fingerboard, Brazilian rosewood binding to bevels, flamed maple top trim, perfect narrow blue mitred binding around all edges and back center strip, gold engraved Waverley tuners. 25.4” scale, 1 3/4” nut width, 2 1/4” bridge spacing. Lower bout 16 1/16," waist 9 1/8," upper bout - 11 7/16." Excellent plus condition, no visible playing wear. This was Marc’s personal guitar for two years, and he installed a Baggs bridge saddle pickup system in it which has recessed tone and volume controls inside the top edge of the soundhole. It has lined sides, which Marc uses on this model to cut down some of the “wilder overtones” so that the guitar’s sound is smoother. It also projects in a wider dispersion pattern, with more volume. It’s a gorgeous guitar, the woods and craftsmanship are spectacular. It has lots of volume and a very even response from top to bottom. Original Hiscox case. Current price is $12,000. 2007 Marc Maingard OM, Dual bevel cutaway, #252. Beautiful premium Brazilian rosewood back and sides, German spruce top, beveled on arm and chest area for comfort, burled Brazilian rosewood rosette, Macassar ebony bindings, flamed Canadian maple top border & backstrip, ebony bridge and fingergoard, gold Alessi tuners w/ebony buttons. 25.4” scale, 1 3/4” nut width, 2 1/4” bridge spacing. New old stock. This is a great sounding and playing guitar in as-new condition by a South African luthier who has made guitars for Steven Stills and other famous players. Stills even calls him the best in the world. Original Hiscox case. Current price is $11,500. • Cash price, $9,995 2007 Marc Maingard GC, Dual bevel cutaway, #264. Top quality African Blackwood back and sides, top grade German spruce top, ebony bridge and fingerboard, blackwood binding to bevels, flamed maple top trim, perfect narrow green mitred binding around all edges and back center strip, gold Waverley tuners with ebony buttons. 25.4” scale, 1 3/4” nut width, 2 1/4” bridge spacing. Lower bout 16 1/16," waist 9 1/8," upper bout - 11 7/16." This is a gorgeous guitar, the woods and craftsmanship are spectacular. It has lots of volume and a very even response from top to bottom. It makes sense that a luthier in South Africa would have some of the finest African Blackwood available to build with, and its rarity commands a premium price ($800. over Brazilian Rosewood). Original Hiscox case. Current price would be $12,995. • Cash price, $9,995 2007 Merrill OM-18, A beautiful as-new natural finished OM out of Adirondack spruce top and mahogany back & sides. We love Jim Merrill's guitars, and the OM-18 has been particularly strong, due to Jim's style of strong bass which marry's perfectly with the clarity on mahogany and the OM box. • Spacing is as traditional for original OMs, 1 3/4" x 2 3/8" 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 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. 2008 Martin Custom 0-18, 14-Fret Amber Sunburst out of mahogany and Adirondack with Adirondack scalloped braces, V neck 1 3/4" x 2 3/8", ebony fingerboard and bridge, vintage ("delrin") pickguard. The tone of this guitar is shockingly warm and rich for an 0 size, very beautiful and satisfying; the condition is "as new". 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. 2008 Klepper 12-Fret 00, Slightly used, from a multiple Klepper owner and professional recording engineer, and used only in the studio. Out of Brazilian rosewood and cedar, with Howard's usual incredible workmanship, with maple bindings, multiple neck, peghead veneer and backstrap laminations, AAAA grade Brazilian, side soundport, graphite neckblock trusses, double sides and more. • Tone is an amazing combination of warmth, clarity and balance. • Neck spacing, 1 3/4" x 2 1/4+" • Price new was $9500 2008 Sexauer JB-14, 00 12-fret cutaway, slant-fret out of finest European spruce and Pernambuco, slot head. The scale length is 25" on the high E, 25.5" on the low E, the concept for which came from a conversation I had with Bruce debating the merits of Martin's two scale lengths. We solved the debate by coming up with the idea to do them both on the same guitar. This box is sensuously curvaceous, a very appealling shape that Bruce derived by tweaking the body shape of the Schoenberg's he's been building for a decade. He's made the bottom bout assymetrical, following the angle of the bridge which is angled up, bass to treble, to fit the shorter scale lengths of the treble strings; a beautiful combination of Vintage/Modern hybrid aesthetics. Internally, the guitar is built very lightly, X-braced, with delicately scalloped braces, another style learned from Bruce's association with Schoenberg Guitars. Peraps the most interesting feature, the pernambuco used for the back & sides, is a major contribution to the luthier world from Bruce. He has been wonderfully experimental and non-conservative in his constant searching for connecting different woods to their unique tonal characteristics. The pernambuco has proved to be probably the most innovative and successful of his search, giving a fascinating quality of solidity and cleaness to the sound that is captivating to the player and audience. • Custom Alessi tuners from Italy with black pearl buttons • McIntyre Feather soundboard transducer installed • Cutaway to seventeenth fret 2009 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. 2009 Merrill OM-18, A great example with an explosive tone, nice slim subtle wide-feeling V neck shape. As-New condition, natural finish, a punchy, solid, gorgeous sounding powerhouse, 1 3/4 nut width, Adirondack spruce and mahogany. • Cash price, $5695 2009 Martin 000-28, As new condition, spruce top, Indian rosewood back & sides, a continuation of a model and specs that dates back to 1947. • Non-scalloped X brace • String spacing: 1 11/16" x 2 1/8" 2010 Martin Custom 000C-18 12-Fret, Ordered by us out of Adirondack spruce with mahogany back & sides, Adirondack braces á la Golden Era, hide glue construction, Cutaway, solid head, 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 was their best current neck shape, and the sound must be experienced to be truly appreciated. 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 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 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" Recent Collings C-10 Deluxe, Incredible all-Koa guitar; I've never seen koa like this before. Also, great sounding, which is not too easy to do with a koa top. This one has a 1 3/4" neck, ivoroid bound top, back, fingerboard and peghead, simple L-00 style purflings, 14-fret neck. Recent Collings C-10 Western Custom, Extremely beautiful shaded-top L-00 style with Mahogany b&s, AAA spruce top, ivoroid and rope binding and bound soundhole. The fingerboard has been inlaid by Harvey Leach with a gorgeous and tasteful night time evergreen forest landscape, while the body sports one of the sexiest subtle sunburst ever. An extremely classy instrument. • Nut Width, 1 3/4" Recent Collings Baby, The highest quality travel guitar on the market, out of Indian rosewood and spruce, custom with a nut width of 1 3/4", excellent condition. • Cash price, $2795 recent Kerry Char L-00, An L-00 copy by a highly regarded Portland, OR builder, out of Brazilian rosewood, with vine inlay fingerboard, vintage stained top with a subtle sunburst, firestripe pickguard and ivoroid binding with tortoiseshell purfling. All in all, a very sweet not-so-small bodied guitar. • 1 3/4" x 2 5/16" ARCH TOPS. RESONATORS, GYPSY & 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. |
| CLASSICAL GUITARS 1809 Mauchant Freres, From Mirecourt, France, built with carved top and back, archtop bracing ('violin' construction), but with two C (viol) holes and a central O hole. Among the earliest carved top and back guitars, and a wonderful sounding and playing instrument. Besides the forementioned characteristics, there is the Stauffer peghead, curved fingerboard, archtop-style ebony bridge with ebony pin-style tailpiece inlaid into the top, solid maple one-piece carved back, solid maple sides, very slim neck-approx. 15 mm, ivory binding, purfling and rosettes are alternating bands of ebony and ivory. This is amazingly advanced for its time, and, more remarkably, entirely successful as a player's instrument. • Nut width, 44 mm; Scale length, 630 mm 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. 1968 David Russell Young, Classical, out of the finest quality Brazilian rosewood. Young is a famous builder better known for his steel-strings. Author of "Steel-String Construction and now a builder of high-end violin bows. • Nut, 51 mm; Scale, 645 cm 2003 Graziano Parlor, Sweet nylon string parlor by noted ukulele maker Tony Graziano, of Santa Cruz. Lower bout is 13", scale length is 24 5/8", out of incredible tiger-stripe koa and top grade Euro or Engelmann spruce. As new condition. "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. Randall Kramer Altiplano, Gorgeous Cutaway Classical out of European spruce and Indian rosewood, a rare classical from a reknowned builder of steel strings and Schoenberg's newest builder. Nut width is 50 mm, scale length 650 mm, tuners by VanGent, from Holland This is a warm, fat sounding guitar with a quick response and extended sustain. Cosmetically non-traditional with a snakehead peghead, a volute and rosewood rosette. Graphite bars under the fingerboard stiffen the neck. Alan Perlman Cutaway Classic, New, and exquisite, of Indian rosewood and European spruce, Baggs I-Beam pick-up. Based on an instrument built for Julian Bream by Jose Romanillos in 1973, it uses an open harmonic bar bracing system that greatly increases the responsiveness and harmonic range. The soundboard is the highest grade of European spruce from the St. Moritz region of Switzerland, back & sides are East Indian rosewood, neck is Honduras mahogany, fretboard is Gabon ebony and is arched fretboard as in steel string guitars. The bindings are Swiss pearwood. New, this guitar would cost at least $9200. |
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SCHOENBERG GUITARS 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. |
| NEW GUITARS 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" Fabrizio Alberico 00 "Mary Rose", New, made for us, 14 3/8" wide and 4 1/4" deep. The top is German spruce, back and sides are Mahogany with cocobolo accents. • String spacing: 1 3/4" x 2 1/4" • OM Scale, 25.375" 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 Laurent Brondel B-3C, Just in, very beautiful 12-fret 00 cutaway, with fabulous sunburst finish. Tone is warm, open, deep , clear, balanced. Laurent is new on the scene, yet showing himself to be among the top luthiers today, with his own distinctive, artistic stye. • Red spruce top, cocobolo B&S • Cocobolo backplate • Spacing: 1 3/4" x 2 1/4" Laurent Brondel "The Essential" B4, A great instrument, boiled down to the "essentials". As it happens, those essentials are gorgeous! Single "0" size, 12-Fret. • Scale 25", String spacing 1 13/16" X 2 3/8" • Top red spruce, Back & sides Indian rosewood • Bridge Honduran rosewood, pins ebony • Bindings tortoise shell, Tail wedge Madagascan rosewood, Neck Sapele laminated, • Fingerboard Macassar ebony, radius 12" • Headplate Madagascan rosewood, Backplate Indian rosewood • Bolt-on, glued fretboard • Tuners nickel Grover Sta-Tite with ebony buttons 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-412 Bld, 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. This is an arched maple back. 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 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" John How XBC, Sinker redwood, curly walnut, a small (13 1/2") 13-fret parlor style guitar by our favorite luthier in Cool, CA. When I was little, I was told that the best presents come in small packages, and this is a perfect example: beautifully made, sweet and strong sounding, incredible materials. • String spacing: 1 3/4" x 2 1/4” John How XGC, Based on the Stella guitars of the 1920's, this one differs in that it is X-Braced. The idea came from a very nice Stella we had that had been rebraced, with very successful results—it sounds amazing! This Grand Concert from John is 14 5/8" wide, with very enticing flame mahogany—it glistens, some would even say it glows—and Lutz spruce, a mating of Sitka and Engelmann. Other features are bone pins, upgraded colored wood purflings & nitro finish. Must be played to be believed (you could say that about all guitars;) it's a very light guitar with quick response, and a delicate yet full tone. All in all, a delicious guitar to play and hear. 1 3/4" x 2 5/16". 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. Howard Klepper 12-Fret 000, 15" lower bout, but not Martin shape, with the long 25.4" scale. The back and sides are quartersawn Cocobolo, with black "ink" lines and some beeswing figure. The top is of western incense cedar (Libocedrus decurrens, also known as Calocedrus decurrens). This is the premier wood for making pencils, hence another common name is pencil cedar. It is rarely available for guitar tops--most of the trees are owned by or committed to the pencil industry--but it has outstanding structural and tonal properties. It is a lot harder, stiffer and stronger than western red cedar, and tends toward a vibrant tone with a quick attack. This guitar's bindings are curly Ceylon satinwood, another rarity in the lutherie world. The fretboard is African blackwood with inset bloodwood purfling, and the bridge is Brazilian rosewood. The top purfling is some of Howard's custom half-herringbone marquetry. The multi-piece neck is of mahogany and Brazilian satinwood, with black and maple veneers. •1-3/4" nut, 2-1/4" string spacing at the bridge, Gotoh tuners, and a hard shell case. Klepper Dreadnought, An unusual offering from Howard Klepper, of Bennett Valley, CA, a more-or-less traditional Dreadnaught out of Adirondack spruce and unusually phenomenal quality church bell cocobolo, with a Madagascar rosewood headstock veneer, custom herringbone backstrip, and spacing 1 3/4" x 2 1/4". Howard is known for advanced technology and it's exciting to see and hear this D, which is a traditional high-X scalloped brace herringbone, though it is a bolt-on neck with soundhole braces that run through the under-fingerboard brace for added support in this fragile area. 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 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. Randall Kramer PrairieGrass, Fourteen-Fret, slot head, German Spruce top, Honduran Mahogany, Brazilian Rosewood bindings, head and back plates, rosette, bridge and fingerboard. It has the Kramer Soundport, Gotoh antiqued nickel tuners, bone nut and saddle. The top is tuned and graduated in the Kramer method, braces are out of Adirondack Red Spruce, and owing to the extreme long grain stiffness of the top, has tone bars perpendicular to the centerline. The bridgeplate is light yet hard cherry wood. An exceptionally balanced, fundamental, resonant and projective guitar with broad dynamic range that suits light to aggressive playing styles. 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. 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") AJ Lucas Pavilion Sweep, A destinctive sweep cutaway is the first thing you notice about this dynamic looking instrument. Woods are: top, European w/bearclaw, three-piece back of Yew with a center piece of Wenge; spanish heel, scale: 650 mm, nut: 45 mm (1 3/4), bridge: 57 mm., body: 400 mm (15 3/4), depth: 115 mm, wedged body: 1/2" narrower at top side. Fingbd: maccasa ebony, bridge, madagascar rosewood, neck: honduras mahogany. 18 frets to body on the treble side, side port, French polish finish, built very lightly. AJ Lucas Pavilion Wedge, From Lincoln, England, a first-class luthier, one-man shop. Wedge-shaped body for comfort Adjustable angle tilt neck Soundboard: bearclaw sitka spruce Back and sides: cocobolo - Manzer wedge taper Neck: reclaimed Honduras mahogany Fingerboard: ebony Bridge: caviuna Scale: 650mm (approx 25.6") Nut width 45mm (1 3/4") Body depth at tailblock: 115mm (4 1/2") 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 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 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! Martin D-18 GE, Not a common stock item for us because of our focus on the smaller models, but the clamor for this model has been so great that we couldn't resist. A number of our most respected professionals, such as Scott Nygaard and Julian Lage, have chosen the D-18GE over all other models. Somehow the combination of its numerous virtues seems to have created a monster guitar: Adirondack top combined with the mahogany back & sides, the Golden Era bracing, the high X, plus the wider neck, fossilized ivory and various 1934 stylings. As in the original 1934 era Ds, the earlier style bracing seems to be most effective with the mahogany body, in that the open, bassy effect of lighter bracing and high-X does amazingly well with the contrasting happiness, clarity and definition of the mahogany. Martin 1833 Custom 00 12-Fret, Very beautiful, unusual Martin with amber-stained birdseye maple back & sides, Adirondack spruce top, maple neck(!) with a rosewood lamination running down its center, rosewood binding and fingerboard. Golden Era bracing, 1 7/8" modified V neck, long scale(!), 42-style fingerboard inlays and the early torch inlay on the peghead. The maple neck is the most unusual aspect for Martin; the denser material can pull a lot of extra sound out of the box, as does the long scale—it'll be a lot of fun experiencing this instrument as it breaks in! • It's been sitting with the ToneRite for quite a while now, and boy does it sound old! Martin M-38 Koa Special, Wow, this is one great guitar! Playing it right out of the box was exciting; fantastic neck shape (a much improved modified V with 1 3/4" nut, 2 1/4" bridge spacing), beautiful tone, scalloped braces with the high X and first rate fancy koa. Other attributes include abalone logo, rosette and '45' style snowflake fingerboard inlay, grained ivoroid, and the Martin script logo out of abalone on the peghead. The M models stem from a vintage F-9 ƒ-hole with a flot top replaced by Marc Silber in the 1960's, made famous by Dave Bromberg. The lower bout is 16" with the narrow depth of the 00 & 000, bringing a big sound with lots of definition and clarity. Martin 00-18 Tim O'Brien, Possibly the best 00-18 to come out of Martin in ages, it is an Adirondack top, mahogany, long-scale, vintage-braced powerhouse of a guitar. With the long scale, it is suitable for flatpicking, while being a superlative fingerstyle guitar. We've been breaking this guitar in with the ToneRight, and it is sounding phenomenal! • Abalone rosette, Delrin pickguard • Individual Waverly tuners Martin 00-21 Custom Cutaway, There were only a couple 14-fret 00-21s made in the 30s, and here it is again, though now it's a cutaway. Adirondack spruce, EI rosewood, OM neck spacing, 21 appointments such as herringbone rosette and tortoiseshell binding. An OM pickguard is a perfect touch for this smaller body. • Nut: 1 3/4", Bridge: 2 5/16", Scale: 25.4" • Binding: Tortoiseshell • Neck Shape: Modified Low Profile • Bridge: Small 1920's rectangular bridge with Drop-In Saddle • Hide Glue construction • Tuners: Vintage Gotoh Martin 000-28 Cutaway Custom, 12-Fret Cutaway, slot-head, Adirondack/Indian, herringbone purfling, long scale, 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 intriguing in that it offers full access (better than a 14-Fretter) with the very appealing tone of a 12-Fret body. The tone is remarkable: full, clear, airy, rich, liquid, smooth. • Hide glue construction • Nut: 1 13/16", Bridge: 2 3/8" • Inlay: Diamond & Squares, Short Pattern • Binding: Grained Ivoroid • Neck Shape: Low Profile • Bridge: Pyramid with Drop-In Saddle • Tuners: Waverly Nickel 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. Moonstone 000-12-Fret, First of all, you've never seen such a dramatic piece of cocobolo—incredible ink blot grain with a white heartwood center. Top is Adirondack, spalted rosette, wood binding, pyramid bridge, slot head, Waverlies, double bound headstock, 1 13/16 x 2 1/4". Extremely responsive, even explosive, while being A phenomenal instrument. PRS 25th Anniversary Angelus Cutaway, #11, Limited Edition top-of-the-line out of Madagascar rosewood and Adirondack spruce, nicknamed "Emma". These are designed by Steve Fischer, and possess an amazing tone like no other guitar. The bass end is remarkable in its depth and quality, a thrill to hear, while the guitar remains balanced with a sweet treble. The tops are uniquely braced with an X under the soundhole and fan braces below. Materials are the best, as is the workmanship. Played and promoted by such great players as Martin Simpson, Tony McManus and Ricky Scaggs, • Curly mahogany neck, Brazian rosewood fingerboard & bridge • Tuners hand-made in England by Keith Robson • String spacing: 1 3/4 x 2 3/16 • 15 1/2 x 4 1/2", 25" scale Recording King Century Studio 000 12-Fret, Recording King Century Series guitars feature 000 12-fret style bodies for a robust sound and comfortable playability, and a hand-buffed nitrocellulose finish. This model has the deep, authentic tone and warm projection found on original guitars from the early 20th century. Other features include AAA solid Sitka spruce top, solid figured mahogany back and sides for the model 626, solid Indian rosewood for the model ROS-627, one-piece mahogany neck with a vintage ‘V’ profile, slotted headstock and pyramid bridge. The 647 is rosewood b&s with pearl border and vintage abalone fingerboard inlays. • ROS-16: Cash price, $395 • ROS-606: Cash price, $695 • ROS-626: Cash price, $759 • ROS-627: Cash price, $899 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. 2005 Sexauer FT-15 000, Bruce's version of a12-fret 000 with Adirondack top and Mahogany back & sides. The woods are top class, especially the top, which is as nice as any Adirondack I've seen. The binding is wood, appears to be rosewood, with OM-style Tort-tis teardrop pickguard and short pattern slotted diamonds on the fingerboard, belly bridge, Waverly individual tuners on a solid peghead, very delicate wooden purflings with a beautiful thin zipper backstripe and stylistic three-cornered pearl inlay in the heel plate. There is a repaired (by Bruce) crack in the top from the bridge to the end. Workmanship and quality of the highest order, as we've come to expect from this top class Northern California luthier. • Cash price, $5500 Bruce Sexauer FT-16-D, This one is new growth Brazilian Rosewood and very high quality Adirondack Spruce. Bruce it up as a D-28 in the pre-war style except for a couple of things: the modern backstrip and a slight wedge shape to the body lessen the width under the player's arm. • Light amber burst varnish finish • Spacing, 1 3/4" x 2 5/16" Bruce Sexauer FT-14, Bruce's 14-Fret 00 out of church bell cocobolo and Engelmann spruce. It has a meaty, very satisfying bass and a bright clear treble, with an amazing amount of solid power. The kind of instrument that's very hard to put down. • Cocobolo veneers, front & back of peghead • Gorgeous snakewood binding and backstripe • Flame maple and rosewood purflings • Varnish finish 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. 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. Voyage-Air OM2C, The ultimate travel guitar, a professional quality, full 000 size yet the neck folds without retuning—ask for a demonstration—and a backpack case that will go onto any airplane. 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. Yamamoto Talus, A new model from Tony, serial #99, this is OM size approximately with cutaway, out of Honduras rosewood and Cedar. A dynamic shape featuring longer body on the bass side and shorter on the cutaway side to combine the best tonal qualities of a 12-fret and 14-fret body. Tony has developed a glueless neck joint & fingerboard extension with an adjustable truss rod & two carbon rods under the fingerboard, all the way to the end of the fingerboard extension, in order to obtain maximum adjustability and to minimize the age-old conundrum of how to keep the fingerboard straight over its entire lenght. Yamamoto MS6, Tony's unique and marvelous MultiScale Six-String Baritone slant-fret, his 100th guitar. This baritone has been an ongoing project of Tony's, developing a thoroughly modern and effective instrument with a specific strenght in open tunings with rich, low bass and clear, solid trebles. The scale length runs from 27" in the bass to 25.5" in the treble. Yamamoto Talus, Tony's newest—each new one is better than the last, and this one is no exception. It is a rich, warm, full and sweet guitar, with plenty of presence, and gorgeous looking to boot. Woods arw Madagascar rosewood back, sides and peghead veneer, and killer Swiss spruce (Alpine), with figured koa binding on body and neck, as well as end graft and heel plate. This model is OM size approximately with cutawayin a dynamic shape featuring a longer body on the bass side and shorter on the cutaway side to combine the best tonal qualities of a 12-fret and 14-fret body. |
| MANDOLINS 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. 1913 Gibson H-2 Mandola, Black faced, marked "H-1" on the label but features fit the H-2 model. Condition is Excellent +, all original including original excellent hard shell case. 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 1918 Gibson A1, Pumpkin top, white bound top and fingerboard, The Gibson script in pearl on the peghead. Beautiful condition, with an adjustable bridge and Cumberland pickguard, all else original inc. hard shell case. 1920 Gibson F-4, 1921 Gibson F-4, Truss rod model, sunburst, early enough to be a truss rod model that still has the wider neck. A great player, straight neck, low action. New tuners (Schallers?), tailpiece, bridge and pickguard (Cumberland). Tbe back centerseam has an ancient reglue, there's a repaired hairline crack under the pickguard, some armpit finish wear, a gorgeous sunburst and lots of volume with a warm, resonant tone.Gibson A-3, White face, wreath inlay on peghead, serial number is unreadable, so no date. Has plain ivoroid tuner buttons, so fairly late pre-Loar, most likely circa 1919, all original except that the peghead finish is shiny, indicating possible refinish, adjustable bridge and no pickguard. There is some finish flaking over the ebony neck lamination, and armpit wear on the top. The neck is straight, action low, lots of volume and sweet tone. 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. 1929 Martin Style E, Martin's 45 style mando, with the abalone border inlay around the top, back and sides, beautiful pearl peghead and fingerboard inlay, engraved tailpiece and tuner cover, Brazilian rosewood (of course). There is a bit of pick wear and pickguard distortion, no cracks, all original (incl. Case), straight neck and very low action. extremely rare & gorgeous, EX-, all orig. 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! Eastman MDC-805, We are very pleased to be able to offer this rare Mandocello! Designed after the Gibson Lloyd Loar K-5, which used the body of the early 16" L-5 guitar. This is a gigantically rich instrument, with it's bass string tuned to the C below the guitar's low E. Finish is a gorgeous sunburst varnish, highly flamed maple back and sides, beautiful wide neck. 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. 1915 Gibson A Model, A fully original, excellent plus condition, sweet playing and sounding Pumpkin top A Model; the cherry finsh on the back & sides have faded nicely. No cracks, no nothin! 1936 Martin 2-20, Two-point, carved top, ƒ hole, the slightly plainer version of their famous 2-30. These are extremely rare and beautifully made 1908 Gibson F-2, Three-Point, Blackface, in VG+ to excellent condition. The peghead ear has been reattaches, as is so common with these, and theres a bit of pickwear on the top, has all its original parts including Handel pegs and hand-tooled leather case, no cracks other than the reglued peghead ear, plays great with lots of volume and great tone. 1916 Gibson F-4, Excellent original condition, with the beautiflul glowing sunburst finish, a true sunburst! Excellent + all original condition. with Handel tuners and original hard shell case, no cracks. This instrument is a thing of extreme beauty forever with a rich, deep, loud round-hole tone. 1920 Gibson A-3, A beautiful, fully original (including pickguard) whiteface in almost mint condition except for wear on the peghead. The neck is straight, action is low: No Issues!. 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. Late 1920's Martin Style 2K Soprano, Light as a feather, beautiful old koa tod, sides and back, four perfectly repaired hairlines in the back, otherwise excellent. Loud and clear, singing tone. 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. 1930's Gibson Style 2 Soprano, '30s, all mahogany, great (!) sounding—bright & loud, refinished top. Check out the name on the back! 1930s Martin Style 2 Soprano, Circa 1930, beautiful condition, all original, plays great—what more could anyone want? All mahogany, stamp on back of head, no decal, patent tuners, ivoroid binding. 1931 Martin T-17 Tiple, Almost like new condition all mahogany, with excellent low action (!), X-braced. Basically a 10-string uke, also used as a hot jazz rhyuthm and solo instrument is a couple of the great black swing bands such as Cats & The Fiddle and The Spirits of Rhythm. • Cash price, $1250 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! 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. 2007 Ron Phillips Concert Uke, A gorgeous metallic creation from Ron, our local resonator Artist/whiz kid. An art nouveau design masterpiece that is also an amazing instrument: loud, clear, full, sweet toned with three piece mahogany/maple neck and mother-of-toilet-seat peghead veneer. 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. 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! |
