We are quickly nearing the end of the amazing Dream Series from Kathy Wingert. For #7 we elected to build Kathy’s new Concert Muse model. This guitar boasts an amazing set of Brazilian Rosewood with a dramatic sapwood center and dark black color and consistent straight grain. This is truly a special set of wood and the Italian spruce top is equally amazing. The exclusive series rosette and abalone treatments complete the elegant appearance. This will be the only Concert Muse of the series of 10 instruments to be built.

Here we have the highly sought after Wingert Model E, Kathy’s most popular design. This one is uniquely appointed with a fallaway cutaway and Koa armrest bevel. So comfort and access are easy to come by here. The Englemann top blends beautifully with the rosewood back & sides for a big, warm voice with lots of depth and a hint of brilliance to make it complete. A serious fingerstyle guitar.

If Randy Wood lays his hands on your damaged instruments, you know that soon it will sound better than when it was new. If you, on the other hand, get to lay your hands on one of his instruments, you know that soon your songs are going to sound better than brand new! This Brazilian-Rosewood-and-Adirondack-Spruce Dreadnought we’ve got in the shop today has got more energy than a steam engine, and boasts a gorgeous pre-war aesthetic that’ll be the envy of every Bluegrass picker you know. One of five guitars that Randy built as copies of a certain Herringbone Dreadnought, this 1993 Dreadnought is perfect for the flatpicker looking for an enormous voice with lots of rumble in the bass.

Be it solos or chords, this guitar absolutely kills it–the projection is fearsome, and if you listen at the right moments you can pick up some gorgeous treble overtones fit to melt your heart. We had a go with a few songs, and found this Dreadnought provided excellent accompaniment, if you were prepared to sing a bit louder, and with a thumbpick the bass notes had a fat, juicy snap! to them that’s perfect for Blues.

This Paul Woolson SIG model Double Top guitar has us all smiling here at the shop. The voice from the Double top Adirondack(outer) and Lutz(inner) Spruce and African Mahogany body is bold and rich. The short 24.9″ scale makes for sweet and full treble strings and the side soundport insure you hear plenty of the round bass as well. Wider fingerstyle spacing makes it play as beautiful as it sounds and looks and the armrest bevel is super comfortable. Complete with a Jeff Hoffee Carbon Fiber Flight Case – our favorite. A very special guitar indeed.

We’ve known Paul Woolson for a few years but didn’t have the chance to play his guitars until the Miami show early in 2008. We never represent a builder that we haven’t played and been thoroughly impressed with and that’s just what happened in Miami. Guitarist Larry Pattis, a long time friend to DG, invited us to play Woolson guitars there and we were blown away because Paul Woolson has created a Double Top that is not stark or hollow, as some can be, it’s warm and full just with added power. To us that’s a great achievement and immediately ordered this guitar; an OM cutaway, Double Top featuring a Cedar and Lutz Spruce ‘skins’ on the top and gorgeous Cocobolo Rosewood for the body. We also requested Paul’s double back design to match the one we loved at Miami. We are delighted with this guitar, it’s clear, even, warm and powerful and all that is wrapped in a small, easy to hold, beautiful OM body. This is exciting… About Double Tops From Paul Woolson: “The term ‘double top’ has been thrown around for a few years now. In its current form, it’s relatively new technology. However, classical builders have been used the original form of the double top for decades. The concept of a double-topped guitar is pretty simple: Sandwich a thin layer of aerospace honeycomb material between two very thin tops (or skins as we call them in our shop). This is done in a vacuum process, which creates a very stiff and stable soundboard. The main advantage to this structure is that the top can be built very lightly braced and still remain structurally sound. A lighter top allows more energy from the strings to turn into sound. The final result, in its very simplistic form, is a louder guitar.”