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2012 Kolaya MJ Cocobolo/Western Red Cedar
Built as the Cedar-topped twin to Kolaya #31, a Cocobolo-and-White–Spruce MJ, this Kolaya is a powerful example of how Cedar can give a guitar extra warmth in the middle registers while simultaneously fattening the trebles and coloring the bass. Played in standard or dropped into DADGAD, the Kolaya has a pronounced and well-defined bass, and the setup strikes a perfect balance for both fingerstyle and flatpicking approaches.
Need trebles with delicious overtones that hang in the air? The Kolaya MJ is here to help. Need vigorous sustain? Got it! We love Brad Daniels’ aesthetic here, with the spalted woods inlaid into the fretboard extension, and the overall fit and finish is flawless.
SOLD Read moreScale Length 25.31 in Nut Width 1.81 in String Spacing 2.28 in Woods xx, Rosewood - Cocobolo Add to Compare2012 Kolaya MJ Cocobolo/Engelmann
In our shop of fingerstyle guitars, this 2012 Kolaya (Brad Daniels) MJ fits perfectly. With its 16″ lower bout and Cocobolo back and sides, this guitar exhibits deep, rolling bass notes, themselves crisp and well-defined. Fleshed out with a balanced middle register and trebles with a juicy brand of clarity, thanks to the White Spruce top, this MJ is the envy of less well-balanced guitars everywhere.
Fingerstyle arrangements are lush and complex, each string present and articulate–and dropped down to DADGAD and beyond, this Kolaya MJ remains fresh and projective. The C profile neck is gracefully contoured and feels instantly familiar in your left hand, and Daniels‘ contemporary aesthetic lends this guitar a unique, understated sense of style.
SOLD Read moreScale Length 25.4 in Nut Width 1.84 in String Spacing 2.25 in Woods xx, Rosewood - Cocobolo
I began building handmade custom acoustic guitars in 2006.
What started out as a fun project and birthday gift to build my own guitar almost immediately became my passion. I have been playing guitar since I was about 9 years old and it’s always been an important part of my life. I built my first three guitars under the guidance of Virgil Shouse, my wife’s grandfather. I’m so grateful to have been given that opportunity. Once the first three were completed, I decided to begin setting up my own shop at my home.
I read every lutherie book and article I could find and scoured the internet for clues. After a few more, I decided to attend the Galloup School for their Technician Course to learn how to make my creations play properly. A few years later, at the Montreal Guitar Show, a friend recommended a book set by a man named Ervin Somogyi. I had no idea who he was at the time, but I read them cover to cover multiple times. My guitars were really starting to turn a corner at this point.
In 2014, I was fortunate enough to have the opportunity to spend 10 days in Oakland, CA with Ervin himself, along with a few other luthiers, to study voicing the guitar. I’ve been at it for 10 years now and my journey is just beginning. With each guitar new mysteries are uncovered and I’m genuinely excited to continue to grow in this craft.
My aim is to build guitars that inspire. Guitars that are rich in tonal complexities and reflect my own individuality as a luthier. It is my desire to work with you to create the guitar that inspires you as an artist.