Here is a rare LEFT HANDED Roy McAlister C model. Built from high quality Brazilian Rosewood and Italian Spruce for a tone sure to please the most discerning ear. Jackson Brown gets incredible tone from his McAlister guitars. Roy seems to achieve a responsiveness and energy that few makers have found. His voice is a blend of tradition and modern, with chimey top end and clarity to spare. David Crosby also calls his McAlister guitar his “favorite guitar”. Both Jackson and David play with fingers and also strum, evidence of the versatility of McAlister guitars as well. Don’t hesitate on this gem Southpaw’s, this guitar is for you.

Power and purr in equal measure. Lance McCollum really knew how to build ‘em. This Grand Auditorium comes to us from 1999, and that’s given it plenty of time to open up. And up, and up! Lots of power and projection under the hood, but notes have a smooth definition to them that makes the voice so sweet. Brazilian Rosewood back and sides pair up with European Spruce on top with a long scale setup at 25 3/4” to add extra pow! to those bass strings. Our repair gurus have just dressed the frets, and it plays like grass-fed butter. It’ll take equally well to both fingertips and picks to boot. There’s even an L.R. Baggs Lyric pickup system to carry it straight up to the stage.

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The late Lance McCollum left us in the guitar world with an incredible body of work, from terz guitars to harp guitars and everything in between—this small-bodied Meghann model is right smack in that in-between spot: it’s got great projection and power when you lean in, without losing any of the clarity and intimacy of a smaller instrument. Walnut body with German Spruce on top gives an even midrange and crisp trebles plus sweet note definition across the range, and the fact that this McCollum Meaghan comes to us from 1997 means it’s opened up for over two decades—and it shows in the lively character of the voice. This beauty is also outfitted wiith a Highlander IP-2 dual source pickup system to carry you faithfully on to the stage.

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If you’re in the market for a deep-bodied GA with lots of low-end rumble and the perfect amount of middle and upper register charm, this McCollum is the one for you. Featuring a gorgeous set of Brazilian Rosewood for the back and sides, this guitar is as fun to look at as it is to play. From the celtic knots adorning the fretboard to the interweaving streams of Abalone and MOP that make up the rosette on the Spruce top, Lance McCollum knew exactly what he was doing when he put this beast together–a guitar with both charm and tone to knock the pants of the competition.

The excellent string-to-string balance makes this GA perfect for fingerstyle, but thanks to the deeper body, it holds up beautifully under a flatpick as well. With a voice decked out in crisp, clear overtones, this McCollum will perform equally well in a recording booth as on stage at your next performance.

The list of people who could build a Dreadnought like this one–combining the thunderous projection traditionally associated with these guitars with a surgically-precise articulation and balanced voice–is a short one, indeed, with names like Ervin Somogyi and Wayne Henderson at the top of the list. Right there next to them stood Lance McCollum. This particular Dreadnought comes to us as an instrument with no faults, and no excuses: it’s here to make music. The back and sides? Honduran Mahogany from “The Tree,” of course–with waving grain that shimmers as though alive in the light. There’s more: Adirondack Spruce for the top, Lance’s understated but original Abalone-and-wood rosette, a three-ply Mahogany neck with a center seam right through the heel.

For the flatpicker, this McCollum makes dreams come true, rendering everything from Bluegrass to Blues to Swing chords in rich, vibrant color. With crisp trebles and a bottom end with more thud and hustle than you can shake a pick at, this Dreadnought makes even flubbed notes sound great. When you’re satisfied that every strum yields new, enveloping tones, put the pick aside and try this Dread on for fingerpicking size. Lowered to DADGAD or beyond, the bass strings remain crisp and present, and thanks to Lance’s use of a longer scale length, you’ll never need worry about losing that well-defined edge, either. The string-to-string articulation is so strong that even simple fingerstyle arrangements sound proud, orchestral. From top to bottom, inside and out, this Dreadnought might be one of our favorites so far this year.