Grimes, Steve Learn More +
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Brand New Steve Grimes Luthiers For A Cause Parlor, Maple/Sitka Spruce
We originally sold this guitar as part of the LFAC auction, and now we are reselling it as like new to benefit the Ukulele Kids Club a second time!
We are excited to be partnering with the Ukulele Kids Club Inc., along with four outstanding luthiers: Steve Grimes, Jay Lichty, Peter Robson, and Ben Wilborn, as the platform that will sell four one-of-a-kind guitars to help bring the healing power of music to medically fragile children. It is our honor to support the efforts of these altruistic luthiers who have chosen to donate these fine instruments to benefit so many children in need. All partners and luthiers are proud to share that 100% of the proceeds from the sale will benefit the Ukulele Kids Club Inc.
Here we’ve got Steve Grimes’ FHP-33 parlor guitar with some asymmetrical curves. As with all four LFAC guitars, the body is Flame Maple with Sitka Spruce on top, supplied by Steve. In addition to asymmetrical proportions, Steve also includes a carved back like you’d find on an archtop guitar. Here that comes together in a slim package that nonetheless has a sizeable voice under the hood. Great string energy and quick, snappy decay makes for a solid blues guitar, but there’s also a touch of sweetness and roundness in the trebles that works well for a range of styles.
Here is Al Petteway with an additional demo on this beautiful Grimes Parlor: https://youtu.be/GYo79zPug00
Here’s a link to the Luthiers for a Cause website: https://www.luthiersforacause.org/.
Here you can go to the Ukulele Kids Club website to donate directly as well: https://theukc.org/.
Other keywords: lutherie, auction, donation guitar, fingerstyle, 206
SOLD Read moreScale Length 25 in Nut Width 1.75 in String Spacing 2.25 in Woods Spruce - Sitka, Maple Add to Compare2002 Steve Grimes Nylon Cutaway, Brazilian Rosewood/Spruce
Hawaii-based luthier Steve Grimes knows how to make nylon string sing. This 2002 Cutaway model is a lovely number dressed up with Brazilian Rosewood and Spruce, Koa bindings, and a tasty Abalone palm tree inlaid at the 12th fret—plus the aforementioned cutaway for better access to those dusty top frets. Blue purflings set off the amber colors of the top and Koa bindings, and add a bright spice to the overall aesthetic. Combined with an elliptical rosette of Koa, and this Grimes Nylon String Cutaway stands apart from the crowd in all the right ways.
Other keywords: fingerstyle, crossover guitar, andy jurik, 0667, ameritage, flamed, side dots
SOLD Read moreScale Length 25.6 in Nut Width 2 in String Spacing 2.25 in Woods Spruce, Rosewood - Brazilian
Music and woodworking are two very different types of “performing” arts. Being both a woodworker and a working musician in 1972, I found myself fascinated by the prospect of combining these two professions. After studying with a violin maker and working in the instrument repair trade, I set up my own shop in Seattle, Washington, USA and began making arch top mandolins. For the first two years I made mandolins exclusively, subsidizing my new venture by doing repairs on all types of string instruments. When I was able to increase production of new instruments and get them into the hands of some good players, I was finally able to devote myself fully to building new instruments.
Being more of a guitar player than a violin or mandolin player, I found that my interests were leaning more toward guitar construction, and in 1974 I began making acoustic arch top guitars. In 1982, I began making two new types of flat top guitars (a steel string and a classical), a semi hollow body arch top electric, and an oval soundhole acoustic arch top.
1982 also was the year I moved my shop from Port Townsend, Washington to its present location in Kula, Hawaii. At approximately 4000 feet on the dry, leeward slopes of Mt. Haleakala, I found the perfect location to build instruments. Without the seasonal fluctuations in temperature and humidity, climate stability and conditioning in the shop were made much easier.
In 1991, I teamed up with musical innovator NED STEINBERGER to produce an experimental flat top guitar in which the soundboard is not put under tension, as it is in standard flat top, classical, or arch top guitars. Using a unique bridge system, the “stress free” guitar directs the string tension to a tailpiece, allowing much lighter braces to be used without fear of an exploding or imploding soundboard. This system makes it possible for the top to vibrate more freely, producing a loud, full, open tone.