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2005 Santa Cruz OM, Brazilian/European
William Coulter’s personal Santa Cruz! This road-wise, opened up, and otherwise bombshell 2005 SCGC OM has seen William through many years of gigs and recordings. Now it’s time to pass the torch, so to speak, and we’re here to make sure it goes to a good home.
Brazilian Rosewood and European Spruce, set up for DADGAD, and decked out with a RMC Acoustic Gold MIDI saddle pickup—if you can imagine it, this OM can do it. Having been played extensively by William, the Euro Spruce top has opened up handsomely, and the tone has a breathy, lively response that’s well balanced across the registers.
Wrapped up in a Hoffee flight case, features nickel Waverly tuners, and only weighs just over four pounds! This Santa Cruz is easy on the ears, and even easier on the hands with a 1 13/16” nut and a soft-V neck profile with shallow cheeks that’s been played so much the finish has a slinky velvety feel.
A gem from Celtic and Classical virtuoso William Coulter’s personal stable, this 2005 SCGC is exactly what you’re looking for, if that’s a resonant and responsive fingerstyle instrument.
SOLD Read moreScale Length 25.4000 in Nut Width 1.8100 in String Spacing 2.3130 in Woods Spruce - European, Rosewood - Brazilian 
2008 Franklin OM Brazilian/German
Playing this guitar is like sleeping in on Sunday morning. Our 2008 Franklin OM with Brazilian Rosewood and German Spruce has a lively voice that doesn’t take much nudging to sing, and when it does the tones that come belting out of this soundhole are clear as birdsong and rich like an extra spoonful of honey in your tea.
Fit and finish is as top notch as we’ve come to expect from Franklin Guitars, and this set of Brazilian is nothing to scoff at! Faint black silking between chocolate-dark grain lines. Herringbone trim, Rosewood bindings, and gold Waverly tuners for a touch of elegance.
We strongly recommend this Franklin for any player, but fingerstylists in particular. Handled dropped tunings like DADGAD and Cadd9 like a champ; string-to-string balance is superb. Trebles have a focused attack without sounding brittle, and there’s a pocket of overtones in the upper mids that’ll really flesh out your slow, spacious pieces.
SOLD Read moreScale Length 25.4000 in Nut Width 1.7500 in String Spacing 2.3130 in Woods Spruce - German, Rosewood - Brazilian 
1997 Don Musser Dreadnought, Brazilian/German
This is not your average Dreadnought, all boom and no balance—the response is even from string to string and fret to fret. Don Musser, when he isn’t building guitars, is selling tonewood to luthiers, so it should come as no surprise that the woods are incredible on this Dread. Brazilian Rosewood back and sides paired with a German Spruce top, Flamed Maple bindings, scalloped nut and saddle. Pay close attention and you’ll see no detail is fudged, right down to how Don gracefully transitions the straight edges of the heelcap into the Flamed Maple bindings at the back.
The voice has excellent note clarity, and the bass response is warm, focused, and well-defined. The respective registers are well-balanced; it’s a seamless transition from bass runs to solos on the treble strings. It’s opened up handsomely in 20 years: there’s lots of energy under the hood that’s easy to access. The lower mids in particular have a breathy response that balances nicely between the bass and treble registers.
For the flatpicker who plays Bluegrass but wanders into Jazz territory and beyond, this is a unique piece that can easily keep up with your genre-bending arrangements.
SOLD Read moreScale Length 25.5000 in Nut Width 1.7500 in String Spacing 2.2500 in Woods Spruce - German, Rosewood - Brazilian 
2009 Collings 01A, Mahogany/Adirondack
Little ‘ole 2009 Collings 01A packs a wallop (or two). This is Collings’ smallest 0 size with a 24 7/8 inch scale over Mahogany and Adirondack Spruce. Our pistol 01A might be small, but it’s fierce with the crisp response that put Collings on the guitar map in the first place, and it’s in incredible condition for an instrument built in 2009! We love the slick playability of the soft V neck, and the overall lightweight construction (just 3lbs, 11oz). Waverley tuners, bone nut & saddle, and Tortoloid-matching bindings and pickguard; all wrapped up in a TKL hardshell case.
Perfect for fingerpicking blues or singer accompaniment, this Collings 01A bears up handsomely under a pick as well.
SOLD Read moreScale Length 24.8800 in Nut Width 1.7500 in String Spacing 2.1900 in Woods Spruce - Adirondack (Red), Mahogany 
2017 Peggy White OM, Koa/Italian Spruce
If you’re interested in having your mind blown wide open, this is the guitar for you. Peggy White’s brand new OM is that sweet, sweet dream that all you fingerstylists awake from in the morning. You know, the one where you just want to curl back up and play tunes all day with an amazing instrument? The best part is this baby ain’t no daydream! Koa and Italian Spruce with Peggy’s voicing make for a guitar dripping with overtones in the trebles, crunchy and punchy mids, and a warm bass.
Energetic and responsive, it doesn’t take much effort to get a lot of sound, and the slick setup makes it even more effortless. We loved dropping down into DADGAD territory; the string feel remained crisp and snappy for pull offs galore. Interested? Give us a ring and this gem can be at your doorstep in 24 hours.
SOLD Read moreScale Length 25 in Nut Width 1.7500 in String Spacing 2.2500 in Woods Spruce - Italian, Koa 
1980 Franklin OM Brazilian/Spruce
Franklin OMs are a force to be reckoned with, and this gem from 1980 backs that up with a handsomely opened up voice and easy playability. Brazilian Rosewood and Spruce, 25.4 inch scale, Grained Ivoroid bindings, Herringbone trim—all the appointments of a traditional Martin-style guitar. This OM goes one step further with a well-rounded C profile neck and a fast setup.
The voice has that easy, opened up flavor that makes the best vintage instruments stand out from the pack, with a hint of airiness in the bass that keeps its richness from overpowering the other registers. Trebles are crisp and focused. We put this Franklin through its paces with a flatpick for Bluegrass riffs—excellent. Dropping it into DADGAD for fingerstyle—even better.
The complete package: gorgeous woods, smooth setup, and a dynamic response that lends itself to a variety of styles.
SOLD Read moreScale Length 25.4000 in Nut Width 1.6800 in String Spacing 2.3000 in Woods Spruce, Rosewood - Brazilian 
1969 Martin D-28 Brazilian/Sitka
1969 was the last year Martin would use Brazilian Rosewood on their standard models, and this D-28 lucked out with a gorgeous set that would be the apple of any luthier’s eye today. Sitka Spruce on top, 28-style appointments, black pickguard, and a 1 11/16 inch nut all make for a good-looking Dread from the sixties with a slick setup. There are only so many Martins from this era that have remained with their original owners, and this is one of the few!
The voice has more balance and note separation than we’d expect from a Dreadnought, and the bass response is also more focused. Combined with extra clarity in the upper mids and trebles, that extra articulation makes for a great guitar for flatpicked solos and lead work. The slim neck also lends itself to fast playing, so if you like to tear it up like Bryan Sutton or Tony Rice this 1969 D-28 is an excellent candidate for the job. Our repair team have gone over every inch and have given it a clean and stable bill of health; plenty of life left to the saddle and the frets are freshly leveled, crowned, and polished.
A great Martin Dread with a vintage, opened up voice that’s less muddy and more articulate.
SOLD Read moreScale Length 25.4000 in Nut Width 1.6900 in String Spacing 2.1500 in Woods Spruce - Sitka, Rosewood - Brazilian 
1998 Klein M-43 Prototype, Indian/Sitka
Another typical Steve Klein guitar, in that there is nothing typical about this guitar. In fact, this is a prototype from 1998 for the M-43 model, featuring an access panel below the neck heel and all-wood braces in the typical arcing Klein fashion. Indian Rosewood back and sides, Sitka Spruce top, and a Brazilian Rosewood bridge with added mass and surface area on the bass side. Here you’ll find a one-piece bone saddle, which is an interesting departure from other Kleins, and the 1 3/4″ pearl nut is integrated into the headstock veneer and capped with a zero fret. A 25.4” scale extends over nicely crowned frets and terminates at the saddle with 2 1/8” string spacing. The Rosewood neck is smoothly contoured in a C shape that’s slim enough to pass for an electric, and the lack of a traditional heel enables the left hand to easily access the upper frets.
This Prototype M-43 is great for both fingers and picks, but really shines as an explosive strummer. Flatpicked tunes ring out beautifully in the clear, punchy attack that defines the voice. The focused upper and mid registers are balanced by a thunderclap bass response that manages to be enveloping and articulate at the same time. Explorations into dropped tuning territory yielded excellent results; the play feel remained crisp and the bass actually mellowed so as to further improve the balance across the registers. Wrapped up in a custom-fit (thankfully!) Calton flight case, this ’98 M-43 is a unique glimpse into the evolution of Steve Klein’s lutherie genius.
SOLD Read moreScale Length 25.4400 in Nut Width 1.7500 in String Spacing 2.1300 in Woods Spruce - Sitka, Rosewood - Indian 
1894 Beitel, Brazilian Rosewood/Adirondack Spruce
When you listen carefully, a little piece of history can be heard crackling in the voice of vintage instruments such as this 1894 Parlor guitar from C.T. Beitel (1869-1916), one of the only examples existent today. Beitel, who worked with Martin at the end of the nineteenth century, has been identified by some as the first American-born apprentice at Martin. Clemence was the cousin of C.A. Zoebisch, Martin’s distributer in those days. This instrument was completed and signed by Beitel in June of 1894, and you can still see his signature on the underside of the top (“C.T. Beitel, 6/94, Easton”).
Understandably, this Parlor is similar to Martin’s instruments at the time in many ways, but it doesn’t fit neatly into any of Martin’s appointment packages. The top is X braced and features a Pearl rosette and Herringbone purflings. The body and neck is bound in actual Ivory (which was also used to make the oval-shaped tuner buttons). The Maple bridge plate is to all appearances original, as is bridge, the Brazilian Rosewood back and sides, and the Adirondack Spruce top. The tuners are original as well: German-built Jerome tuners engraved with flowers. These tuners were only found on Martin’s most decadent models from this period.
The voice is creamy smooth and tinged with warm overtones, and plays very easily. Weighing under three pounds, this Beitel is a true featherweight, but still manages to pack a lot of sound into a small package. We’d expect no less from an instrument that precedes us by over 117 years!
Here’s an additional demo with Steve Newbrough: https://youtu.be/_VCF1IEdWfE
SOLD Read moreScale Length 24.5600 in Nut Width 1.7500 in String Spacing 2.4100 in Woods Spruce - Adirondack (Red), Rosewood - Brazilian 
1997 Taylor PS-14, Brazilian Rosewood/Engelmann Spruce
If the essence of the word smooth were to manifest in the shape of a guitar, it’d look something like this 1997 PS-14 Presentation Taylor. The contours of Abalone purfling across the Engelmann Spruce top and Rosewood sides, Pearl inlay across the fretboard, quietly rippling grain in the Brazilian Rosewood back, C profile neck like glass; the visual execution is strikingly organic. That velveteen flair carries over to the voice, itself silky and balanced. The bass response has a well-defined fundamental but doesn’t overwhelm the overall tone. The clarity across the strings is an excellent candidate for fingerstyle explorations, and if you let the treble strings ring out for a moment or two you’ll notice a pleasing swell of overtones that overtakes the voice as the initial note decays.
Taylor built this Presentation P-14 for the 1997 Musikmesse convention in Frankfurt, which helps to explain the painstaking attention to detail and seamless execution. The setup is just as glassy as the gloss finish; swift and silky. One of the most distinct-sounding Taylors we’ve had in the shop, this one gives many boutique-built guitars a run for their money.
SOLD Read moreScale Length 25.5000 in Nut Width 1.7500 in String Spacing 2.2200 in Woods Spruce, Rosewood - Brazilian 
1938 Gibson L-Century, Maple/Spruce
What a gorgeous piece of Gibson history! We’ve had several L-Centuries come through the shop, but this one is in the best shape we’ve seen yet, and it’s got a killer woody voice to match. Maple back and sides and Spruce on top, crisp sunburst and tiger stripe pickguard, original bridge, bridge plate, and tuners—even the setup is perfect. Dialed in to the sweet spot that’s great for fingerpicking but with just enough string height for the occasional slide number to ring without the rumblestrip effect of bouncing across the frets.
Take this beauty in standard tuning, or down to Open D or Open G! The voice has split wide open and you’ll be surprised just how much volume this little L-Century from 1938 can churn out at will. We really can’t say enough about the tone: crisp and responsive, and so lively! It’s an instrument that’s incredibly fun to play. Gibson only made these mother-of-pearl(oid)-bedecked gems for a few years, and they’re each a collection-worthy find. This one happens to be both essentially all-original and in incredible playing shape.
SOLD Read moreScale Length 24.8750 in Nut Width 1.7380 in String Spacing 2.3500 in Woods Spruce, Maple 
1997 Ryan Mission Grand Concert East Indian/Cedar
Just when you thought our inventory couldn’t possibly improve, we’ve recieved a gorgeous 1997 Ryan Mission Grand Concert in impeccalble condition! Featuring the classic combination of Red Cedar and Indian Rosewood, this guitar combines the warmth of the former with the rich projection of the latter, making this an instrument equally at home for recording and playing in sessions. With a tight, focused tone that isn’t muddied by excessive overtones, this GC comes across as a stellar instrument in the studio, where your fingerstyle arrangements can fill out the articulate middle registers. Later, when you’re sitting down with your fiddle player friends to practice some tunes, this Ryan packs plenty of punch as a flatpicker for accompaniment in DADGAD. Having practiced, it’s time to perform a set of Irish jigs–and that’s when the K&K Dual pickup system comes in to faithfully translate the Mission’s acoustic tone into amplified territory. Honestly, there’s not a situation that this guitar won’t outshine the competition.
SOLD Read moreScale Length 25.6300 in Nut Width 1.7500 in String Spacing 2.2500 in Woods Cedar, Rosewood - Indian 
2016 Lowden Custom O50c Ancient Cuban Mahogany/Sitka
Wanted: 2016 Lowden 050c seeking serious companion for music-making fun. Will lend a woody, balanced voice in exchange for room and board in a 45% humidity home. Can’t cook, but will provide musical inspiration 24/7/365. If interested, please send an email to [email protected].
Here the Lowden guitar company has paired some Ancient Cuban Mahogany with Sitka Spruce in a big frame that lends itself to a flatpick, but is balanced enough to hold up handsomely for fingerstyle. Like new, this 2016 050c comes outfitted with a Venetian Cutaway, Maple Arm Bevel, and Abalone rosette for a little flair to this otherwise understated package. Comes wrapped up in a Hiscox Liteflite Artist case. All the projection that comes from a big body, but none of the boominess that garbles up lesser guitars; the Mahogany and Sitka blend together for a woody crunch that’s easy on the ears and spread out evenly across the fretboard.
SOLD Read moreScale Length 25.6300 in Nut Width 1.7500 in String Spacing 2.1900 in Woods Spruce - Sitka, Mahogany - Cuban 
2002 Olson SJ Brazilian/Cedar
If the finish here is satin, then the voice of this Olson is pure velvet. We put this 2002 SJ through every tuning, every genre, every combination of picks and nails we could think of, and each time the voice remained clear, strong, and articulate. The full effect of the classic Olson sound in a Brazilian–Rosewood-and-Cedar package. James Olson has only ever used a satin finish on an extremely small number of his guitars (read: fewer than five to date), further setting this SJ apart from the crowd.
This one’s been babied since birth and has practically no play wear across the body or the neck. In spite of that, the voice is delightfully opened-up and consistent; if played gently the treble overtones swell, if played with gusto the bass revs its engine but doesn’t drown out the other registers. We’re basically looking at fingerstyle perfection with six strings (and oh yeah, an L.R. Baggs LB6 pickup! And a sweet TKL tweed case!). This particular Olson was originally built for none other than DADGAD extraordinaire Pierre Bensusan, and you can see Pierre’s name written on the top if you look inside with an inspection mirror. Hence the satin finish (and maybe we’re projecting, but this Olson does sound stellar in open tunings like DADGAD).
SOLD Read moreScale Length 25.4000 in Nut Width 1.7500 in String Spacing 2.2500 in Woods xx, Rosewood - Brazilian 
2010 Blanchard ClassiCool, Brazilian Rosewood/Cedar
The space between a traditional nylon string guitar and its steel string cousin has been traversed by any number of builders. Among those, Mark Blanchard’s Classicool is one of the most successful crossovers we’ve seen. For instance: this 2010 Classicool in Brazilian Rosewood and Cedar. Loaded with modern features, this Blanchard is an effortless player that balances a rich voice with articulate, well-defined note separation. The Venetian Cutaway allows the fretboard extension to remain dust-free, and the ComfyCorner armrest keeps your right arm relaxed and elevated from the top. Gold EVO frets with a gentle radius will feel perfectly familiar to steel string players, and the 1 13/16” nut gives extra room for fretting but keeps those big fingerings from stretching your hand beyond its limits.
Gone over by our repair staff, this Classicool has a clean bill of health and is ready for action blending the line between the traditional classical and the creature comfort of contemporary steel string design. While of course Classical music sounds wonderful here, we found that everything from Bossa arrangements to Blues tunes sounded equally at home on its nylon strings.
SOLD Read moreScale Length 25.6250 in Nut Width 1.8140 in String Spacing 2.3950 in Woods Cedar, Rosewood - Brazilian