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1999 Blanchard Pinyon Madagascar/Sitka

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We’ve got the birthplace of a tradition in the store today: the Pynon Prototype that Mark Blanchard first built in 1999! This design has gone on to become one of Blanchard’s most popular steel string guitar models. The Madagascar Rosewood back and sides, coupled with a tight-grained Sitka Spruce top, give the guitar a bright, warm tone with lots of headroom in the middle registers. Visually, Blanchard adorned the rosette, fretboard, and bridge pins with colorful Abalone, and completed the look with a slotted headstock and gold Waverly tuners. Until the original owner tragically lost his life in an avalanche in 2005, this guitar was lovingly played and is in immaculate condition. This is a great opportunity to own a rare and precious small-bodied Pinyon–without the wait!

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2015 Beardsell 3GMS25/27, Leopardwood/Lutz Spruce

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One look, and you’re intrigued. One note, and you’re hooked. This powerhouse 2015 3GMS from Allan Beardsell‘s shop is here to dazzle the eyes and humble the ears. Let’s start with the basics. You know, like the double soundports which pour sweet active bass notes right into your ear. Or the oval soundhole and its spiderweb-like rosette, or the arm and back bevels which meld smoothly with the bindings. And let’s not forget the unique three-piece Selmer-style cutaway or the multi-scale Ebony multiscale fingerboard with 27″ scale length on the low E and 25″ on the high E. As if all that wasn’t enough, the back and sides are made of a beautiful set of Leopardwood, and the top is lightly figured Lutz Spruce. When these woods (and that exhaustive list of options) combine, the effect is overwhelming: this is a guitar with an electrified, energetic voice that pops, sizzles, and screams. The low-end, in particular, is very crisp and loud, thanks to the multiscale arrangement, and the middle and upper registers have heaps of headroom. Overall, the 3GMS/25/27 exhibits the kind of agility and responsiveness, perfect for fast, smooth playing, that one would expect from a much smaller build.

Here’s an additional demo with Al Petteway: https://youtu.be/010dSDWlzAE.

And here’s another demonstration, this time with Beardsell’s neighbor and fellow luthier extraordinaire, Jordan McConnell: https://youtu.be/ZjxoyGpd-58

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1946 Martin D-28 Brazilian/Sitka

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A Bluegrass champion has risen, just in time for the holidays! And it comes to us straight from the hands of a Bluegrass legend, Mr. Tim Stafford of Blue Highway fame. This 1946 Martin D-28 of Stafford’s has been one of his staple guitars for quite a long time, and now you have the opportunity to add it to your arsenal, instead. Featuring the kind of straight-grained Brazilian Rosewood that was then an industry standard (and now is all but impossible to find) and a darkly sunburst Sitka Spruce top, this D-28 is a jaw-dropper. This kind of vigorous, muscular tone, you know it’s a Bluegrass machine, with clean highs and a low-end that is big, but controlled. Almost 70 years old, this working relic plays like it’s 20, and is set up for Bluegrass-style attack. With all that bark, you’d think it was a three-headed dog–take one bite, and you won’t like the taste of anything else. According to Wayne Henderson, this guitar was retopped by Martin in the late 40s, when it was still a baby, so the top has been played in and fully opened up since then. This D-28 is true vintage, and bears the marks of musicmaking with pride.

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2011 Henderson D-28 Brazilian/Adirondack (Red)

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As Ervin Somogyi is the definitive Modified Dreadnought builder, so Wayne Henderson is the archtypal Dreadnought luthier. It’s practically unanimous, the reputation of his guitars: you can’t get much better than a Henderson. One of Henderson’s best models, this one in particular exhibits all the qualities we look for in a Dreadnought: a hearty, defined low-end, a silky middle register balanced with the top-end, teeth-rattling projection and tone. Wayne may have found one of the most beautiful sets of Brazilian Rosewood left on the planet when he built this guitar–the grain is chocolate-black and caramel–and we haven’t seen an Adirondack Spruce top with so much silking across its medulary rays in a long time. Bound together in Grained Ivoroid (a vintage throwback) with Herringbone trim and a Zigzag back strip, the sound box on this D-28 gives you an enormous, enveloping sound where the trebles are balanced sweetly against the bass. With a healthy dose of articulation and a dash or sweet upper register overtones, this D-28 is ready to blow the pants off of the competition–even other Henderson D-28s will get a run for their money. This guitar comes with the original Guardian hardshell case.

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2004 Circa Dreadnought, Cocobolo/Adirondack Spruce

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John Slobod: one of the most dedicated and skilled builders of vintage-style guitars alive. The Circa we have here today is the happy child of those years of dedication and hard work. The power of this cannon is almost intimidating, and the strong, complex voice sounds like it should come from a guitar seven times as old. The Cocobolo back and sides and the Adirondack Spruce top both exhibit ramrod-straight grain, and give the guitar its bold voice and thick, enveloping low-end. The upper registers have subtle, sweet overtones to balance out that fearsome bottom-end, and the mids have lots of headroom in between. This is a hallmark Dreadnought, with miles of sustain and projection enough to fill any room; and John’s supreme craftsmanship to tie it all together with perfect fit and finish, Grained Ivoroid bindings, and Herringbone trim.

Other keywords: dreadnaught, dread, flatpicking, traditional guitar, Circa Guitars

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1999 Olson Parlor, Indian Rosewood/Cedar

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This sweet little package was in our hands then out the door in a matter of hours! One of James Olson’s gorgeous Parlor guitars from the 1990s, it’s no surprise that someone snatched it up so quickly. The voice is strong and clear, with great separation of notes and a bell-like cadence. Considering that Olson’s SJs have such a vigorous and powerful voice, it’s not surprising that this 1999 Parlor should also have that kind of strength. The Western Red Cedar provides a rich, warm timbre to the instrument, and Olson picked a tight-grained Indian Rosewood set to complement and round out the sound. This little cannon, as a result, is a powerful and dynamic guitar, with sublime playability and tone. This guitar comes with the original Calton Flight Case.

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2007 Walter Lipton 0000, Brazilian Rosewood/European Spruce

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We are lucky to have another amazing guitar to adorn our walls today: a 2007 0000 from Walter Lipton himself! This is the sort of guitar which just begs to be played. First, you are drawn to the gorgeous and interesting Herringbone trim across the European Spruce top and the rosette in alternating bands of black, green, red, and white, Then, when you turn the guitar around, you’ll want to be careful not to let your jaw drop all the way to instrument when you see just how perfectly straight-grained the Brazilian Rosewood back and sides are. Really, take a ruler to those lines; the ruler will look out of square. Add to that a pyramid-style bridge and MOP snowflakes inlaid across the Ebony fretboard, and you’ve got a stunning example of master craftsmanship in your hands. Now: it’s the tone where this guitar really gets to shine. The setup is glossy smooth and perfect for a wide range of applications, but Traditional or Blues arrangements with a thumbpick sound, in particular, reverent. The large body offers powerful projection and sustain, and if you let the harmonics ring in the upper register, you’ll find some sweet overtones that hang in the air for days. When the Brazilian Rosewood and the European Spruce are voiced this well, the guitar exhibits a strong and complex tonality–and Lipton has certainly achieved just that. This is the sort of guitar which plays through you, rather than away from you.

Here’s an additional video with Al Petteway: https://youtu.be/Rl4M8FfKWcs

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1951 Martin 000-28 Brazilian/Spruce

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Needless to say, this old Martin’s seen a lot of the world since it was first played in 1951, and because of those travels this 000-28 has got some powerful stories to tell. The Brazilian Rosewood back and sides are completely opened up, rendering that strong, vigorous vintage tone which Martin lovers pore through every antique store and pawn shop in search of. This 000-28 has a responsive Spruce top and an agile, energetic voice that really lends itself to American Traditional fingerpicking arrangements, but has plenty of sustain and projection for flatpicking as well.

With the necessary setup work out of the way, this 000-28 is in peak playing condition, meaning that all that rich, explosively opened-up tone can be played with ease. Ready for many more decades of great music, this guitar reminds us what true vintage really sounds like.

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2011 Collings Baby1E Mahogany/Engelmann

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We’ve got another exciting addition to the Dream Guitars showroom and the world of travel guitars: the Collings Baby1E! This babe is a dyed-in-the-wool knockout, with its solid Mahogany back and sides and tight-grained Engelmann Spruce top and Tortoise bindings. For such a little fellow, this 2011 Collings Baby packs quite a punch, with great sustain from the small body. In playing this guitar, one is impressed by the fact that if feels more like a parlor guitar, and less like a travel guitar. Perhaps because of its tight waist. Or perhaps because it sounds so rich and full that you hesitate to call it a travel guitar at all. With a voice this clean and clear, you might start bringing it with you all over town. Lastly, this little gem comes with the original hardshell case, so you can rest assured that it will come to no harm when you store it in the overhead bin on the airplane.

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2014 Froggy Bottom H12-C Deluxe Madagascar/Adirondack (Red)

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Practically brand new, this 2014 Froggy Bottom H12-C Deluxe is itching to get down to the business of making great music. One of Froggy Bottom’s smaller bodies, the H12 is lightweight but bombproof, easy to play but robust enough for great projection. Thanks to the Madagascar Rosewood back and sides and Adirondack Spruce top, the guitar has good drive and a warm, rich tone that lends itself both to flatpicks or fingertips. Bound in Curly Maple and featuring a sparkling Abalone rosette and slotted Waverly tuners, this guitar will win many competitions on looks alone.

An instrument for which a lighter attack is preferred, the H12-C Deluxe has a great capacity for dynamic, nuanced voices, and would work well for a variety of applications, from singer-songwriter to Blues, and with a Venetian Cutaway you can reliably access the entire Ebony fretboard. If you’re looking for a new Froggy Bottom but the bank account can’t quite agree, this 2014 H12-C Deluxe is a dream come true.

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2013 Santa Cruz Firefly FF Indian/Cedar

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The market for small-bodied travel guitars is littered with wooden stringed toys and instruments tht look like a contortioner’s grand finale–but now the folks at Santa Cruz have stepped up to sweep away their lesser competition. This 2013 Firefly is bright and shining, with attractive curves, Indian Rosewood back and sides, and a sunburst finished Cedar top. A guitar which is small but fierce, the Firefly has a surprisingly lush voice, and almost as much projection as its larger-bodied brethren. This guitar is in excellent condition, practically unplayed, but the woods are clean and responsive; a guitar that’s got lots of things to say.

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2008 Huss & Dalton FS Custom Brazilian/Engelmann

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Another powerhouse guitar from Staunton, Virginia! Today we’ve got a Huss & Dalton FS Custom that one of our customers had built in 2008. As per their wishes, the back and sides are a lovely set of Brazilian Rosewood bound in Curly Maple and topped by some tight-grained Engelmann Spruce. The FS model is optimized for fingerstyle, and will reward a player with its rich, thoughtful tone and great sustain. The low-end is defined and controlled, and the trebles have great projection but are well-balanced with the mids. The voice has great body and articulation for dynamic and lush fingerstyle arrangements. The owner also requested that an L.R. Baggs Stage Pro Element pickup system be installed, so this guitar’s sumptuous voice can be heard acoustically or amplified. This guitar comes with the original TKL tweed hardshell case.

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Taylor Guitars K-65ce Koa/Koa

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It is alway a pleasure to find ourselves with a Taylor 12-string in the shop; in fact, we’ve had several Koa 12s through in the past few months, and this one’s sure to move just as quickly. That’s because, plain and simple, Taylor makes a killer 12-string. Hands down. This 2001 K-65ce is a real show stopper in immaculate condition, despite its 14 years. Whereas many 12-strings struggle to perform well as a dynamic instrument, this K-65ce has a robust reportoire up its Tortoise-style sleeves and performs equally well for a big, loud strummer or an articulate and subtle fingerstylist. The voice is rich and detailed, and sounds fabulous for darker passages or brighter, livelier arrangements. The projection is as magnanimous as you’d expect from a Taylor 12-string Jumbo with Koa back, sides, and top–and it has a quick responsiveness to match. This one, in particular, is setup glossy smooth and practically plays itself. This guitar comes with onboard Fishmann Prefix Plus-T electronics (both pickup and preamp) and the original hardshell Taylor case.

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2004 Traugott R, Brazilian Rosewood/German Spruce

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As it is with our own children, so it is with guitars: siblings stick together. When Jeff Traugott was approached with the concept of building two sister R Model guitars–one 6-string, the other 12–he saw an opportunity to create two guitars which would grow and sing in tandem and bring out the best in each other. These two guitars are built from matching sets of Brazilian Rosewood for the backs and sides which came from the same board that was saved from its droll life as a bookshelf and transformed into two astonishingly rich guitars. Similarly, the German Spruce tops are a matched pair, as are the Fossilized Ivory nuts and saddles.

The 6-string twin may have half as many strings, but it has half again as much bass and snap as its 12-string sister. Jeff’s taste for fine-grained Brazilian Rosewood, with its enveloping sonority, and his ability to voice the German Spruce top to accentuate the upper registers, combine in the form of a guitar with flawless separation of notes and a dynamic voice. Naturally a fingerstylist’s dream, this Traugott R exudes both sizzling responsiveness and sweet, subtle overtones.

Here’s an additional demo with our own Al Petteway: https://youtu.be/yigjQyo4MuM

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2004 Traugott R 12 String, Brazilian Rosewood/German Spruce

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As it is with our own children, so it is with guitars: siblings stick together. When Jeff Traugott was approached with the concept of building two sister R Model guitars–one 6-string, the other 12–he saw an opportunity to create two guitars which would grow and sing in tandem and bring out the best in each other. These two guitars are built from matching sets of Brazilian Rosewood for the backs and sides which came from the same board that was saved from its droll life as a bookshelf and transformed into two astonishingly rich guitars. Similarly, the German Spruce tops are a matched pair, as are the Fossilized Ivory nuts and saddles.

Jeff’s abilities continue to astound: here he’s made a 12-string R with all the focus and precision of its 6-string sister. This is a 12-string like no other: where most 12’s have a big, brash voice, this 12-string is clear and articulate; where many 12’s fill a room with the sheer force of their projection, Jeff’s 12-string envelopes the air with the bell-like clarity and focus of each string pair. In a word, this 12-string speaks directly to you when another would shout at you. Fingerstylists will adore how well-balanced the guitar is across the registers, and the myriad colors that can be discovered in alternate tunings.

Here’s an additional demo with our own Al Petteway: https://youtu.be/lqPQhYt8_a4

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New 2015 Ritter Princess Isabella German Alder

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Put this 2015 Ritter Princess Isabella in a crowded room of guitars, and you could still find the Isabella in seconds. From the progressively curved shape of the body to the exquisite woods (German Alder body, Swietenia Mahogany neck), we’re talking about an instrument which stands head and shoulders (and what shoulders they are!) above even top-of-the-line electrics. Jens Ritter has included his trademark, handcast brass bows for a tailpiece which functions as an “attack delay” feature, and has shaped the body to be extra thin (just under an inch) to keep the weight of the instrument down. Instead of using a traditional “floating” bridge or attaching the bridge with studs into the body, the hand cast bridge foot is “mounted” into a small hollowed area carved into the body that exactly matches the contour of the bridge foot, which is held in place by friction and only makes contact with a 2mm thin elliptical contour ridge along the hollow area. Thus, most of the surface area on the interior side of the bridge foot and the bridge studs “float” in the hollow area. With a Haeussel Custom Fat-Jazz pickup and 24.75″ scale, this beast is ready for any and all kinds of music you throw at it.

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1998 Bourgeois Martin Simpson Indian/Sitka

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Who would have thought that this 1998 Bourgeois Martin Simpson signature edition would excel at lowered tunings? It seems that Mr. Simpson’s prediliction for DADGAD and other dropped tunings has permeated this particular instrument, such that its voice–punchy and articulate, with a clean, driving tone–really opens up once those strings get loosened. The best part: in lowered tunings the guitar maintains a good, clean tone; no buzzy and muddy strings! The Indian Rosewood and Sitka Spruce top go very well together to give the guitar lots of pop. The setup of this particular instrument is superb for flatpicking or fingerstyle, and thanks to that generous Fallaway cutaway you have virtually unrestricted access to the entire fretboard.

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1999 Breedlove MJ22/E Macassar Ebony/Spruce

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Few guitars play quite like a Breedlove–and even fewer 12 strings. From woods to voice, this is a beautiful, elegant, and responsive creature. This 1999 MJ22/E 12-string from Breedlove exudes a smoothness both of aesthetic and acoustic proportions: between the Macassar Ebony back and sides and Spruce top and the clean, well-balanced tone, it’s hard to tell which is silkier. The easy playability lends itself to fingerstyle, but a flatpick wouldn’t be out of place on these strings either. Played lightly or by digging in, there are sweet treble to bask in and shimmering octave strings to soak up, with a bottom end that is clean and controlled. Regarding projection, this 12 string’s got it made: it is equally responsive as a singer-songwriter’s quiet harmony or a smoking solist’s number 1 trick.

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2006 Breedlove Calendar XII Myrtlewood/Myrtlewood

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In the eleventh hour, Breedlove built this 2006 Calendar XII, ushering in the midnight capstone to a series of twelve guitars they built, each following their own peculiar design. Those built in 2006, like this Calendar XII, were part of a limited production run of ten guitars for each calendar month, making them extra collectable and significant. What sets this one apart from its other monthly cousins is the use of extremely lightweight Myrtlewood for the back, sides, and top of the instrument. Similar in tone to Maple, Myrtlewood has an acutely focused tone which is dry and responsive. Unlike Maple, which can be so bright and in-your-face as to be blinding, this Myrtlewood has an even, controlled voice that really lends itself to flatpicking. Breedlove’s designs are always bombproof but agile, and the Calendar XII is no exception. Fingerstylists can also benefit greatly from the clean drive and string-to-string articulation that define this one’s voice. This guitar sings like a soft, cool breeze; soothing, rather than freezing.

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2005 Kronbauer TDK Ziricote/Cedar

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We’ve got an excellent Kronbauer in great shape here today. Showing off a beautiful set of Ziricote for the back and sides for strength and drive, topped with Red Cedar to mellow the tone and turn up the heat on the warm, rich voice, this TDK Mini Jumbo is another great example of Trevor’s abilities. Kronbauer’s done something impressive here, creating a Cedar-topped guitar whose trebles are nonetheless sweet and well-balanced and whose low E has a smooth, subtle responsiveness. Bound in Curly Maple, the colors of the Ziricote and Cedar really pop, and Kronbauer’s spalted rosette is eye-catching. If you glance inside, you’ll see an Active Undersaddle Pickup with volume and tone knobs just inside the rim. With rich overtones and an exceedingly well-balanced voice, this TDK is ideal for fingerstylists and has enough projection and bark to satisfy flatpickers as well.

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2008 Kronbauer SWR Mahogany/Mahogany

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One of a trio of mint guitars from Trevor Kronbauer’s shop, this 2008 SWR might be the sweetest sounding and easiest to play of the three. Built with fingerpicking in mind, this Parlor guitar has exhibits a bright, punchy tone from the Mahogany body and the 13-fret neck. When you play this SWR, the guitar projects smoothly out and up, right into the player’s ear, and with dry articulation at the forefront, you can always hear exactly what notes you’re playing. The previous owner was an expert at preserving his guitars–we dare you to find a scratch on this seven-year-old Parlor! Despite the fact that it looks to have hardly been played, the SWR has definitely seen some good times at the hand of an avid musician: the back and sides have opened up nicely, and the setup feels silky smooth. There’s nothing but smooth sailing with this vessel, regardless of tuning (although we found DADF#AD and Open G to have the sweetest character), and comes with the original hardshell TKL case.

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2008 Kronbauer SMB Koa/Sitka

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It’s got zest! It’s got pop! This guitar’s got energy to spare! Trevor Kronbauer broke the mold when he made this 2008 SMB–but considering the tone is this rich and strong, it won’t break the bank. Decked out with a Koa back and sides and a Sitka Spruce top, this SMB’s got heaps of volume in its smaller body. Fingerstylists who want a more modestly-sized guitar with all the projection and bark of a Jumbo or an SJ wil want to take this one out for a spin–a silk-smooth setup for fast and easy playability, that classic Koa dry richness, and Sitka’s trademark punchiness and volume, all in a petite package.Lively and energetic, this SMB exudes stylishness and ferocious attack. Whether it’s for Blues, Folk, or swanky Jazz, this is one instrument which can, and will, deliver the goods.

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2003 Kim Walker SJ Brazilian/Adirondack (Red)

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Another legend in the show room! We’ve got a 2003 SJ from Kim Walker in the shop in practically mint condition. Kim Walker’s status as a master among masters is universally known and celebrated, and when this beauty was pulled out of the case, we felt like celebrating, ourselves. This guitar belonged to Jerre Haskew, the former president of Guild Guitars who hired Kim Walker to save the company and pave the way for his own work. The cut of this Brazilian Rosewood is absorbing, with dark chocolatey notes and arrow-straight grain patterns. This, combined with a warm Adirondack Spruce top and Walker’s SJ curves, gives the player a sensation of royalty: the voice is big and brash, and the guitar can handle any style of music with ease. Talk about headroom–this guitar fills the church to the rafters with an energetic and articulate voice! This guitar is a cold drink on a hot day to flatpickers, or a shot of good whiskey for a blues fingerstylist with its vigor and snap. Seriously, folks, just one look at the woods here, and you’ll be hooked. Once you play it, we offer complimentary tissues, should you feel a tear streaking down your cheek. This Walker is a furnace of powerful tones, and it won’t be here long; get a piece of this fire before we pass the torch!

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New Osthoff Woodstock FS Higuerilla/Cedar

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Fresh from the 2015 Woodstock Invitational Guitar Showcase, we’ve got John Osthoff’s newest creation just itching to be played. Dubbed his Woodstock FS, this model features a Port Orford Cedar top and Higuerilla back and sides to create a voice with an even blend of big, warm projection and clean, balanced tones across the registers. Thanks to Osthoff’s lightweight build, the Woodstock FS has superb projection and the sort of sweet sustain that fingerstylists look for: open and passing chords ring very full and crisp, and Drop D lets the Port Orford Cedar’s warmth overflow.John’s eye-catching aesthetics help round out the image of this beautiful instrument. Featuring Sapwood bindings across the headstock, Ebony fretboard, and body and Osthoff’s handmade Japanese Maple Leaf inlay, you’ll want to play this one in a room with a mirror. Be careful with the Canary and Rosewood spiraling rosette, though–it’s easy to become hypnotized–or is that the sweet, rich tone?With deep, comprehensive articulation for fingerstylists and excellent construction for projection, this Woodstock FS from John Osthoff is ready to get down to business.

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CONNECT WITH US

Showroom (by appointment only):

108 Monticello Road, Suite 400,
Weaverville NC, 28787

Store Hours: Mon-Fri 9am-4pm EST

Contact Us
Make an Appointment

ABOUT

COMMUNITY

POLICIES

EDUCATION