Jeff Traugott builds well-crafted guitars that are known world-wide. The small jumbo R model, known for treble clarity and sustain, appears to be his most popular size. This 27" scale Baritone version gives a clean, even response through all ranges. The Brazilian Rosewood is quite nice. Before production started, another customer offered to buy it from owner Peter Grassadonia for $7000.00! The European Spruce top is top grade and gives this guitar its glassy sheen on top of each solid note. Black binding is used on the Brazilian Rosewood headstock overlay, fingerboard, and body. The nut width is 1 13/16", the scale length is 27", and the string spread is 2 3/16". The neck is a well-executed round profile that is a joy to hold. The ebony fingerboard had no inlay except for pearl side dots. The side and top wood purlfings are tastefully chosen and add to the clean, elegant look of the guitar. The ebony bridge is of Jeff Traugott's own design and comes with a compensated bone saddle and ebony pins with pearl dots. There is no pickguard to break up the lines of the top. The backstrip and endstrip are ebony with purfling edges. This guitar has been extremely well cared for, as Peter always played it with a soft cloth on his lap. The guitar is in showroom new condition. The tone is solid and even with good harmonic structure. This guitar could be the centerpiece instruemnt for any serious player or collector. The case is a dark gray Calton with blue interior that is also showroom new in condition. Jeff Traugott's waiting list extends several years and he will only give a price quote 2 years before delivery date. The 2006 price for the Brazilian Rosewood R model was $26,500.00. I would expect that a guitar ordered today might come in at around $32,000.00. This new condition guitar is a real bargain at 2005 Jeff Traugott R Baritone (R-OOO-138-105) Jeff Traugott builds well-crafted guitars that are known world-wide. The small jumbo R model, known for treble clarity and sustain, appears to be his most popular size. This 27" scale Baritone version gives a clean, even response through all ranges. The Brazilian Rosewood is quite nice. Before production started, another customer offered to buy it from owner Peter Grassadonia for $7000.00! The European Spruce top is top grade and gives this guitar its glassy sheen on top of each solid note. Black binding is used on the Brazilian Rosewood headstock overlay, fingerboard, and body. The nut width is 1 13/16", the scale length is 27", and the string spread is 2 3/16". The neck is a well-executed round profile that is a joy to hold. The ebony fingerboard had no inlay except for pearl side dots. The side and top wood purlfings are tastefully chosen and add to the clean, elegant look of the guitar. The ebony bridge is of Jeff Traugott's own design and comes with a compensated bone saddle and ebony pins with pearl dots. There is no pickguard to break up the lines of the top. The backstrip and endstrip are ebony with purfling edges. This guitar has been extremely well cared for, as Peter always played it with a soft cloth on his lap. The guitar is in showroom new condition. The tone is solid and even with good harmonic structure. This guitar could be the centerpiece instruemnt for any serious player or collector. The case is a dark gray Calton with blue interior that is also showroom new in condition. Jeff Traugott's waiting list extends several years and he will only give a price quote 2 years before delivery date. The 2006 price for the Brazilian Rosewood R model was $26,500.00. I would expect that a guitar ordered today might come in at around $32,000.00. This new condition guitar is a real bargain at $24,500.00

Cruising the halls of the 2007 Healdsburg Guitar Festival, I tried every dreadnought that I could find there. This Mahogany 14 fret Dreadnought struck me as my favorite new D-18 type guitar that I've played anywhere at anytime! Imagine how excited I got when it was offered to me in trade this week by a wood dealer that I know. Inspired by a 1937 D-28 that Seattle luthier Rob Girdis repaired, this guitar was his personal instrument for four years, sort of a cross between a maker's sample and a versatile guitar for jams and solo playing. The top is very close grained Sitka Spruce with prominent cross-grain silking from edge to edge. The back, sides, and neck are Honduras Mahogany. The headstock features Waverly tuners, Ebony headstock overlay with abalone logo and ebony binding with red purfling detail, Small ebony corner blocks tying in the ebony veneer under the Mahogany rear headstock overlay (whew!). 1 3/4" nut width, Soft V-shape neck profile, Ebony fingerboard with snail shell diamonds and squares inlay, Spanish heel neck construction, Ebony binding with black-red-black side purfling and black-Maple, black top purfling, Abalone rosette, Brazilian Rosewood bridge, Advanced X-brace postion with scalloped brace voicing designed to promote trebles and sustain as well as bass, Clear Martin-shape pickguard, Black line backstrip thorugh button, Ebony butt wedge with black-red-black purfling, Redeye pins, black strap button in treble side of neck heel. Very light wear on treble side soundhole edge and 2 small pick backstroke marks on the bass side are the only marks on the guitar. It's just as responsive and lively as I remember it, giving a clear, harmonically dense tone throughout all ranges. This is a wonderfully versatile lead guitar and/ or bright rhythm guitar. A truly great Mahogany Dreadnought! With TKL harshell case.

I shared shop space with John Mello for 7 1/2 years through most of the 1990s. All of John's Taylor guitars got a thorough revoicing through significant brace shaving that made them as responsive as a real guitar. This 16" jumbo sized Taylor has western Maple back and sides, Sitka Spruce top, Grover tuners, Ebony fingerboard and bridge, White binding on the fignerboard and body. It's a bigger, warmer sounding Taylor than you are likely to find anywhere else. Kept very clean by its original owner, the owner is only reluctantly selling it on consignment to help finance his new custom Santa Cruz 12 Fret D. With original hardshell case.

This is a very early handbuilt Islander from National's Long Beach days before the move to San Luis Obispo. Wooden body with F-holes, Wooden slothead neck, National decal, Infamous "No Markings" Japanese tuners, 1 3/4" nut, Koa fingerboard with pearl dots and no side dots, Biscuit cone, "Drilled diamonds" pattern coverplate, National tailpiece, Reverse tan and brown sunburst, Front is stenciled desert-green barracuda and navajo-style squiggle, Back is stenciled surfers scene, Strap button added to neck heel. This guitar has the great penetrating sound that bluesmen seek as well as a warmth that will get you a date with the hula girls. A few signs of wear and headstock burn from a store guitar hanger. With hardshell case. A really interesting piece of modern National's history.

This model is consistently my favorite 14 fret Collings shape. Adirondack Spruce top, Honduras mahogany back and sides, Waverly tuners, Brazilian Rosewood headstock overlay, 1 11/16" nut width, Brazilian Rosewood fingerboard with pearl dots, Tortoiseshell bindings, Line style purfling and rosette, Brazilian Rosewood bridge, 2 3/16" string spacing, Red turtle-oid Gibson-derived pickguard shape, Sunburst top, Ebony heelcap and butt wedge, Gurian endpinand bridge pins with pearl dots. Typical big, robust, and even CJ tone. Reluctantly being sold on consignment to help finance a home remodel. A couple of minor dings. With original hardshell case.

This guitar illustrates why Michael Dunn has been on the cutting edge of gypsy jazz guitarmaking for a long time now. This update on the Maccaferri petite bouche model features a smaller Spruce and Purpleheart resonator box than what is sometimes found on his grande bouche models and a bass-side upper bout soundport in the side with protective screen to keep cigarette butts, gum wrappers, small recyclable bottles, and expensive Wegen picks out of the guitar body. A repeating theme of black trim and accents give an elegant presentation. The back and sides are of dense Purpleheart, the 3-piece back using some beautiful and very dramatic curl-into-quilt figure wood. A consistently fine grain Sitka Spruce top with prominent cross-grain silking is now turning a nice amber. Purpleheart unbound headstock overlay, Black Sperzel tuners, Ebony truss rod cover, 1 7/8" scalloped bone nut, Mahogany neck, Ebony fingerboard with white dots and brass side dots, Ebony binding, heelcap and butt wedge with Maple and ebony purfling, Ebony and Maple rosette purfling, Black stained Rosewood bridge with Purpleheart moustaches, Machined brass tailpiece with Purpleheart center block, 26 3/8" string scale. Strung with a John Pearse set of Nuages strings (.011" - .046"). This guitar speaks very strongly and evenly through all registers, the small resonator enhancing the tebles in the higher fret positions. This is a marvelous gypsy jazz guitar in showroom dead mint condition. With TKL case and specifications letter from Michael Dunn.

Michael Dunn makes recognized cutaway Selmer-style gypsy jazz guitars in his own design. Indian Rosewood, Cedar, Mahogany neck, Sperzel tuners, Indian Rosewood headstock overlay, Ebony truss rod cover, 1 13/16" nut width, Scalloped bone nut, Cream colored fingerboard dots, Classic guitar-like neck profile, 26 1/2" string scale, Wood bindings and purflings, Selmer style moustache bridge, Brass tailpiece, Mute for string afterlength, Wooden strap buttons. This is one loud gypsy jazz guitar with more of a solid bass response than one typically hears in this kind of intrument. Very clean condition. With hardshell case.

The Maurer brand was one of several made by August and Carl Larson of Chicago from the early 20th century until just before world war II. This instrument dates from about 1915 and is very similar in layout to August Larson's 1912 patent drawing for his harp guitar design (pg. 193 Hartman book). There is no Maurer label, so I have to narrow the model number down to 491 or 493. There is a patent date stamp of July 12, 1904 on the spruce center strip of the back. Mahogany back and sides, Adirondack Spruce top, Replacement period strip tuners on both Mahogany slothead necks, 25 3/8" string scale on guitar neck with conventional 1 7/8" nut width and 2 3/8" string spread at bridge, Angled nut and bridge saddle on harp neck gives six string lengths of 32 3/4" to 33 5/8", Ebony fingerboards, Ebony bridge (probably a replacment), Ivoroid bound body and soundhole edges, Cream colored plastic heelcaps, Rosette purfling repeats on the top edge, Line purfling backstrip, 26" body length, 17" body width, Body depth tapers from 3 3/4" at tail to 3 1/8" at harp neck, Nine angled back braces, More complex X-braces than shown in April 2, 1912 patent drawing, Pearl inlays in heastock and fingerboard of guitar neck only, pickguard added in 2001 restoration by the late great Mario Martello, Plugged neck cord peg hole in rear of guitar headstock, Plugged 7th bass string hole for banjo tuner in harp neck. This guitar has a clear, ringing voice, the sustain emphasized by the large ebony bridge. I have used custom light guage on the guitar neck and larger diameter phosphor bronze strings for the harp section. Though the Larson brothers were the first to make guitar tops arched and laminated braced specifically for steel strings, there is a structural limit! The guitar came to me in a padded keyboard case, so some other hard case would have to be custom made. There is a photo of this guitar on page 50 of Robert Hartman's book, "The Larson's Creations"

A nice example of Fender's pre-CBS work before their descent into the "transiitonal" period of Mid-1964 to late 1965. Alder body, Maple neck with a little flame figure, Intact Fender decal, All original Kluson tuners, Brazilian Rosewood veneer fingerboard with clay dots, 22 1/2" string scale, Original bridge, All original electronics, Switches and knobs, Original brown plastic pickguard, Original white finish over the discontinued desert sand color, The only replaced parts are the two strap buttons. The frets are in great shape, the tone is basically that of a Stratocaster. The original case is a little rough, but the latches work.

At 13 1/2" wide, this all-Mahogany X-braced model corresponds with a 1940s Martin O-15 or O-17 in weight and responsiveness. Hoboken label with the cartoon man playing a guitar. The model number and serial number have both completely faded from the label. Strip tuners with white buttons, Black painted headstock with gold script "Guild" logo, Truss rod acces in headstock, Narrow 1 9/16" nut, Unbound Brazilian Rosewood fingerboard with pearl dots inlay, No binding, Black-white-black-white wood rosette purfling, 3 3/4" soundhole, Narrow meandering shape red turtle-oid pickguard, Brazilian Rosewood bridge has had the long slot filled and rerouted for a drop-in saddle, Original white end pin, Mahogany top and back braces. The original bridge pins were so brittle that they shattered when I took them out, so it has new white Martin pins with the black dot. One repaired top crack. This is a fantastic litle guitar that sounds like a good mid-1940s Martin O-15 or O-17 at 1/3 the price. With chipboard case.

A controversial and iconoclastic character, Bruce Sexauer has long been known for his own radically individualistic designs as well as his more traditional Martin-like fare made for Eric Schoenberg's guitar shop. This "Bluegrass Dreadnought" is one of only 5 dreadnoughts that Bruce has ever built. It features a tight grain Adirondack Spruce top, Vertical grain Honduras Rosewood, Nickel Waverly tuners, Dark unbound Brazilian Rosewood headstock overlay with pearl "S" logo inlay, Dart neck volute, 1 3/4" nut width, Slim V-shape neck profile, Black bound ebony fingerbaord with pearl dots inlay, Ivoroid binding and butt wedge, Wooden line type top purfling and rosette, Ebony bridge with 2 3/16" string spread and false "through-type" saddle inserts at each end of the drop-in saddle (permitting multiple saddles for different applications and easy pickup installation), Zipper backstrip, Red turtle-oid pickguard, Bone bridge pins with black pearl dot, Ivoroid endpin, Scalloped brace voicing with the top braces in the classic 1939-44 configuration. This Bluegrass dreadnought sounds especially good with a capo on the 3rd or 4th fret, giving a characteristic Jimmy Martin or Tony Rice ring to the sound. Love him or hate him, Bruce Sexauer can make some really fine guitars and this is one of them. With vintage style Cedar Creek case.

John Walker was part of the Gibson Montana custom guitar shop. This model is John's reinterpretation of the venerated Advanced Jumbo model. Tight grain orange-brown Brazilian Rosewood (back is 60% vertical grain, Sides are 100% vertical grain with some wavy lines), Adirondack Spruce top and braces, Gold Waverly tuners with ivoroid buttons, Maple headstock binding, Ebony headstock overlay with pearl "JWalker" logo and pearl #3 inlay, Ebony truss rod cover, Polished bone nut, Maple and ebony fingerboard binding, 1 11/16" nut width, Tinted lacquer on rear of headstock to simulate an overlay (very cool), V-shape neck profile, Ebony fingerboard with pearl #3 inlay, 25 1/2" string scale, Round neck heel, Curly maple body binding with ebony top purfling, Ivoroid-tortoiseshell-ivoroid rosette, Rectangular Ebony bridge with polished bone saddle, Amber into cinnamon sunburst, Tiger stripe pickguard, Very cool J-100 style backstrip, Boxwood endpin and bridge pins with pearl dot. Looking past the exceptionally clean workmanship, this guitar really delivers with a big clear voice full of character. Maintained in mint condition by the former owner, this guitar remains showroom clean. With hardshell case. This guitar was featured in the "Beat This!" section of John Walker's website, which includes some nice photography.

This is the Collings version of the pearl top sunburst OOs from the 1930s. Indian Rosewood back and sides, Sitka Spruce top, Slotted head with gold Waverly tuners, Bound Brazilian Rosewood headstock overlay with abalone Ellis 45 torch inlay, 1 13/16" nut width, Dart neck volute, Vintage V-shape neck profile, 24 7/8" string scale, Ivoroid bound ebony fingerboard with abalone Ellis 42 snowflake inlay, Abalone 42 style top purfling and rosette, Ivoroid body binding, Indian bead backstrip, Ivoroid butt wedge, Ebony pyramid bridge with 2 3/16" string spread and drop-in saddle, Vintage style sunburst, Pickguard attached, Ebony endpin and bridge pins with abalone dots. Kept in spotless condition by its careful owner. The voice is bright and clear, with an even response across all strings. A comfortable fingerpicker or string it a little heavier and flatpick it. With hardshell case.

Indian Rosewood back and sides, Tight grain Cedar top, 5 piece Mahogany and Maple neck, Gold Schaller tuners with ebony buttons, Ebony headstock overlay with ebony binding and 3 layer purfling, Ebony truss rod cover plate, 1-13/16" nut width, Slotted diamond white pearl fingerboard inlay, Fine pattern herringbone top purfling, Abalone rosette purfling, Herringbone backstrip, 25-3/8" scale length, 2-1/4" string spread at bridge, Gold strap button, Lloyd Baggs dual source pickup. Used for many years as a primary stage and recording guitar, this instrument has a wonderfully well-developed voice for modern fingerstyle playing. It's also picked up a few small dings and dents along the way. A great professional level instrument. With tweed TKL case and Olson tag.

Deeply flame figured Maple back, sides and neck, Fine grained Sitka Spruce, Chrome Schaller tuners, Maple ovarlays on front and back of headstock, Abalone "R" logo, Ebony headstock binding, Ebony trussrod cover, 1-3/4" nut width, Ebony bound Ebony fingerboard, No fingerboard inlay, Maple body binding with side purfling, Ebony bound 4" soundhole, Clear pickguard, Blue-green abalone rosette, Ebony bridge, 2-1/4" string spacing at bridge, Blue-green Abalone backstrip, Maple heelcap, Ebony strap button on treble side of heel, 25-5/8" string scale, Baggs dual Source pickup. A very clear, even voiced professional performance guitar with fine sustain and warmth. Kept in new condition. Very clean heavy duty Tweed TKL case.

Tightly flame figured darker orange-brown striped Koa, Artist grade+ Adirondack Spruce top, Tight vertical grain red Brazilian Rosewood headstock overlay. All other features as described for new CX cutaway 02166 with the exception of Koa soundhole edge and Brazilian Rosewood rosette. this guitar was owned for 5 months until traded in on the Brazilian Rosewood CX cutaway delivered in August. It remains in mint condition and has some warmer midrange tones than it's new sister from careful playing in.

Indian Rosewood , Adirondack Spruce top. Slotted head with Waverly tuners. Brazillian Rosewood headstock overlay. 1 13/16" nut width, 2 3/8" string spread at bridge . Generally herringbone D-28 styling. Another strong, very clean instrument owned by Chris Hillman. This guitar is a commanding instrument at jam sessions.

Indian Rosewood, Sitka Spruce, Waverly tuners, Unbound Brazilian Rosewood headstock overlay, V-shape neck with dart headstock volute, 1 3/4" nut width, Unbound ebony fingerboard with short pattern abalone diamonds and squares inlay, Ivoroid bound body with herringbone top purfling, 28 style rosette, Ebony bridge with 2 3/16" string spread, 25 1/2" string scale, turtle-oid pickguard, Zipper backstrip, Ivoroid heelcap and butt wedge, Gurian ebony endpin and bridge pins with pearl dot, Strap button in treble side of heel. Owned for many years by famed session and touring professional, Pete Huttlinger (see www.petehuttlinger.com), this guitar has a well-developed voice and is surprisingly easy to play. It works well with either light guage or medium guage strings. Pete Huttlinger also talks about this guitar in his interview on the Collings Guitar Forum (www.collingsguitarforum.com). In its many years of play by Mr. Huttlinger, the guitar picked up top and back dings, nothing major. With original TKL case.

Peter Yelda started making guitars in 1978 after consulting with David Russel Young. This guitar was originally made for my shop using my supplied Brazilian Rosewood and 50 year old European Spruce top. Other features include: Gold Schaller tuners with ebony buttons, Bound Ebony headstock overlay, 1 3/14" nut width, Ebony fingerboard with no inlay, 25 1/2" string length, Brazilian Rosewood binding with wood purfling, Wood rosette purfling, Ebony bridge, Ebony heelcap, No pickguard. Robust voice with clear trebles and great sustain. This guitar was used on the road for many years by Dorina Michael and shows some lacquer cold checking and some pick marks. There is a small repaired crack on the bass side of the fingerboard. With original Harptone case.

Light Brazillian Rosewood with dark streaks. European spruce, Brazillian Rosewood headstock overlay. Gold Schaller style Gotoh tuners, Flying dove inlays, pearl rosette, flame maple bindings, added John Pearse armrest, gold strap button. Used extensively on stage and on recordings by Peter Axtell. A strong, bright voice that works a mike especially well. With original hardshell case.

Built in 1993 and delivered in early 1994 to noted singer/ songwriter Dennis Lambert. Indian Rosewood back and sides, Cedar top, Gold Schaller tuners, Body depth 3 5/8" at neck and 4 1/2" at tail, Bound ebony headstock overlay with custom abalone cross inlay, 1 3/4" nut width, Unbound ebony fingerboard with abalone dots, Maple body binding, Wood top purfling, Abalone and wood purfling soundhole rosette, Ebony bridge with 2 3/16" string spread, Ebony bridge pins, Highlander pickup, No pickguard. This guitar was designed for light guage strings, though medium guage strings will work fine with this bracing and carbon graphite neck reinforcement. The voice is clear and even through all registers, showing a lot of harmonic detail and character. Very clean except for a pick ding on the bass side, light buffable pick grazing on the top, and a few dings on the back near the edge of the widest part of the lower bout. A very rare guitar from a very talented builder. With hardshell case.

This is a virtually brand new example of the "Collings Winfield" that was craftily renamed with the same "C.W." initials after Roland White took back the "Clarence White" brand for the Martin versions of this kind of dreadnought. The owner only had it for two weeks before trading it in on a Martin Mahogany 12 Fret D that I had. STANDARD FEATURES include: Somewhat wide, variable grain Adirondack Spruce top, Indian Rosewood, Waverly tuners, Very sharp-cornered square headstock, Unbound ebony headstock overlay with pearl "Collings" logo inlay, Diamond neck volute, Buffed neck finish, 1 11/16" nut width, V-shape neck profile, Ivoroid-bound ebony fingerboard with no inlay, No fingerboard brace, Ivoroid body binding, butt wedge, and heelcap, Herringbone top purfling, Modified 28 style rosette, Ebony bridge with long saddle and 2 1/4" string spacing, Dalmation pattern pickguard, Zigzag backstrip, Gurian ebony endpin and bridge pins with pearl dot. The very heavy build of this guitar is a puzzle to me. Heavier than my 1960 D-28, this guitar weighs in at a tonnage that I associate with an extremely heavy 1955 D-28 that I was unable to sell 12 years ago. It doesn't remind me at all of the tonal characteristics of a prewar D-28 in any respect. Extremely bright, I would suggest nickel strings or Elixir brass to tame down the rampant upper end harmonics. Compare it to the 1940 D-18 currently in stock or one of my many custom SCGC Tony Rice models. It's a very popular model from a very popular company, though. What the heck do I know? Cleaner than your Grandma's kitchen, this guitar with it's original Collings case can be had for the bargain price of $3950.00

Mid-1930s style Herringbone D-28. Vertical Grain Brazilian Rosewood, Adirondack Spruce, Waverly G-98 style tuners, Brazilian Rosewood overlay supplied as a gift to the original owner, "Merrill" gold logo decal, 1 3/4" nut width, Ebony fignerboard, Snailshell 28 style diamonds and squares inlay, Ivoroid body binding and heelcap, Herringbone top purfling, 28 style rosette, Ebony bridge with 2 5/16" string spacing, Red turtle-oid vintage shape pickguard, Zipper backstrip, Advanced X-brace position, Adirondack Spruce top braces, Strap button installed in neck heel. Some top dings, Pegwinder headstock scratches. Otherwise in great shape. Great Mid-1930s herringbone sound. With Merrill Cedar Creek case.

This guitar represents the top of the model line of flattop guitars for Guild. Indian Rosewood, Sitka Spruce, 3-pice Mahogany neck, Gold Rotomatic tuners, Bound black headstock overlay with pearl "Guild" logo, 1 5/8" nut width, Bound ebony fingerboard with white-black-white interior purfling and Abalone-white pearl V-block inlays, White plastic bindings and heelcap with line type top and side purflings, Red-maroon sunburst finish, Ebony bridge with 2 1/8" string spread, red Turtle-oid pickguard, 28 style backstrip, White plastic endpin and bridge pins with abalone dot. Played in, but no cracks of any kind. A loud, bright guitar that sounds even and clear to the top of the fingerboard. With orginal harshell case.

This Regal-made Dobro F-hole wooden model was only built in 1937-38. It features a 12 fret square neck with ebonized fingerbaord, "Dobro" decal, Wooden binding on top and back, Two-tone walnut finish, 3 segment F-holes, Dobro coverplate and tailpiece, No soundwell, Long spider, Stamped cone with no holes, Replacement Kluson Deluxe strip tuners. This guitar is in clean condition with no major dents or chips. Some finish wear on neck corners from playing with guitar on lap, hawaiian or blues style. A sweet-sounding guitar for blues or country playing. With hardhell case.

Another great ladder braced grand concert sized guitar from the group of Italian luthiers in New York (Cerruto, Ciani, Grauso, Nettuno) that built under the "A. Gagliano" brand name. Mahogany, Adirondack Spruce, Brich neck, Slotted head with period tuners, Brazilian Rosewood headstock overlay, 1 3/4" nut width, Very triangular neck profile, Ebonized maple fingerbaord with snail shell dots, 25 1/4" scale length, Ebony binding and black and white wood purflings and soundhole rosette, New ebony brdige, Black plastic endpin, Gurian ebony bridge pins with pearl dot. Recent refret (replacing those awful old brass frets) and a single crack repair on the back near the trebnle edge of the lower bout. This guitar really screams the blues. It's got a honkin', rompin', stompin' sound that makes it hard to keep your feets from hopping around the floor. There is fingernail wear in the spot where a pickguard would go. One of the previous knuckleheads that owned it never thought that he would die or that he would sell it, so he engraved his drivers license number on the treble side facet of the neck with a pocket knife and more lightly etched his initials upside down "JG" on the rear of the headstock. What a maroon. With a totally excellent period style hardshell case that fits it like an original. I'm glad that after 5 years I've finally found a good guitar for this old (Lifton?) case!

The all-Mahogany version of the lively 13 1/8" wide F-20 model. Kluson strip tuners, Black painted headstock front with gold silkscreen "Guild" logo, Truss rod cover, 1 11/16" nut width, Brazilian Rosewood fingeboard and bridge, 24 3/4" scale, No body bindings, Line type rosette purflings, Replaced pickguard in the original shape, Cream colored bridge pins, endpin, and tuner buttons. Some scratches and dings, repaired pickguard crack, reglued brdige and new saddle. This lively guitar reminds me a lot of my first Martin, a 1943 O-17. With chipboard case.

A member of the growing "Paracho del Norte" community of guitar builders based in the greater Santa Cruz area, Matthew Mustapick has been earning a fine reputation for his well-crafted guitars and easy-going personality. This 14 fret Concert Model has "bubble" figure Khaya back and sides, Bearclaw figure Sitka Spruce top, Unbound headstock with cocobolo headstock overlays on the top and back, Gold Gotoh sealed tuners, 1 13/16" nut width, Round slim neck profile, Cocobolo fingerbaord bound with flame figure Koa with blue purfling accents, No fingerbaord inlay, Blue paua shell side dots, Flame figure Koa binding with blue top and side purfling, Carpathian Elm burl rosette with blue purfling ring, Cocobolo bridge with 2 14" string spread and two bone saddles wtih a third one made in Cocobolo as well, Flame Koa heelcap, backstrip, and butt wedge with blue purfling, Clear flamenco style pickguard,Gurian Rosewood bridge pins with pearl dot, and a K & K Pure Western mini pickup. This guitar has a strong even voice and shows a great deal of versatility. I'm very impressed with the clean craftsmanship. It is completely stage ready with the pickup. Brand new condition with Cedar Creek case.

I was the first dealer for Jim Merrill's guitars. One of the finest designs in the traditonal style, Merrill's OMs enjoy great popularity. I originally sold this example in early 2003. Brown 100% vertical grain Brazilian Rosewood back, sides and headstock overlay chosen from my own stock of wood, Artist Grade Adirondack Spruce top chosen from my wood supply, Waverly tuners, "Merrill" gold decal on headstock face, Vintage 28 style neck, Unbound Ebony fingerbaord with short pattern abalone diamonds and squares inlay, Ivoroid binding, heelcap, and side dots, Small vintage style herringbone top purfling, Vintage style 28 rosette, Ebony bridge with 2 5/16" string spread, Through type ivory saddle compensated by me, Ivoroid Stew-Mac unslotted bridge pins, Large patttern vintage style pickguard, Vintage size zipper backstrip, Strap button added to treble side of neck heel, Output jack endpin hole plugged with Taylor black endpin. This guitar was used on stage for fingerstyle and flatpick blues for 5 years. I had Alan Perlman replace the first 3 badly worn frets, perform an overall fret level, and buff out the numerous dings and pick sweep marks on both sides of the strings. Alan did a great job and the guitar is now very presentable. I've priced it $500.00 lower than usual due to the play wear. It comes with the original Merrill Cedar Creek vintage style hardshell case. A gigantic-sounding guitar that has definitely been played in, developing lots of tonal character and depth along the way.