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For the fingerstylist-cum-flatpicker, this is just the ticket: responsive to both a deilcate touch and an aggressive attack, with knockout string-to-string articulation and cannonading projection. With an alluring blackburst finish across the instrument, this Langejans W-6 looks as striking as it sounds. When Del paired this Spruce top with Walnut back and sides, he hit the nail on the head: heaps of bass are complemented by a very present middle register and sparkling trebles. Add to that classic combination a Florentine Cutaway and slim neck profile, and you’ve got the perfect storm of tone and playability in your hands. This may be an instrument from 1999, but you’d hardly believe it, considering the shape it’s in. We’ve seen two-month-old guitars that sounded half as impressive and had twice as much wear and tear–this Langejans W-6 is a black diamond of a gem.

One of lutherie’s too-soon-taken virtuosos, Lance McCollum has left us with a legacy of powerfully expressive instruments to remember him by. This 2006 Grand Auditiorium is no less than perfect: from the exquisitally-flamed Koa back and sides to Lance’s advanced bracing designs and lightweight build. With skills like these, it’s no surprise that McCollum built instruments for contemporary masters like Alex DeGrassi, Todd Hallowell, and others! This Grand Auditorium features a Red Cedar top to complement all that Koa, and the result is a voice that expertly balances warmth and articulation, making this a superb instrument for the flatpicker who wants more color in his arrangements, which the ole’ Dread just can’t provide. You can see on the label that Lance viewed his work as “Functional Sculpture,” and it’s clear that he took the tasks of voicing, bracing, and trimming purfling very seriously: the craftsmanship is flawless.

Capable of handling lowered tunings like DADGAD with ease, this GA is an excellent contender for Irish accompaniment, and with it’s smaller body you won’t have to worry about fatigue for many long hours. The previous owner of this instrument had a delicate touch: there is virtually no play wear on this obviously well-played-in guitar–and it comes with a hardshell TKL case to make sure it stays that way.

This is only our second Stotzel guitar in the shop, but we wish it was the third or fourth! Playing one of Wilm’s guitars is like having your own personal muse at hand at all times–if the richness of the voice can’t inspire you, the low-profile neck and silk-smooth setup will definitely tip you over the edge into new arrangements and compositions! We’ve got Palo Escrito Rosewood back and sides, an interesting choice which gives Stotzel’s Grand Auditorium “Courage” the pop and responsiveness of a Maple guitar, with an extra dose of tonal dynamism. Add to that a cream colored plate of the ever-adored Sitka Spruce, and you’ve got an instrument capable of explosive projection and soothing sustain in your hands.

Looking for a guitar that’s equal parts fingerstyle dream and flatpicking dynamo? Look no further: the excellent balance across the registers makes this an excellent tool to explore your fingertips’ wildest imaginations, and the snappy, articulate low-end really opens up under a flatpick with moderate to aggressive attack. When you’re not playing Courage (read: if you’re not playing Courage), there’s plenty of well-appointed eye candy to satisfy the sweet tooth of your guitar collector’s aesthetic, from the thin, emerald green purflings and asymmetrically shaped heel to the gold Gotoh 510 tuners with Ebony knobs. Bound up in a Hiscox Pro II hardshell case, there’s no chance for harm to come to this courageous beauty from Germany, so you better be prepared to carry this guitar wherever you go, so you won’t have to go too long without playing it.

John Osthoff has taken all of the disadvantages of a traditional Jumbo–overbearing dimensions, poorly balanced registers, unresponsiveness to light attack–and melted them away from the guitar before you now, until nothing but a smoothly articulate voice and exceedingly comfortable body remains which responds beautifully to a range of modes, from ballad to Bluegrass. Outfitted with a Manzer Wedge, this is a Jumbo which feels much more like an SJ in your arms; you’d be hard-pressed to call these voluptuous curves anything but comfortable. Thanks to a gorgeous, figured set of Koa for the back and sides, which is paired with a Sitka Spruce top, Osthoff’s Jumbo has a bright, dry tonality that’s superb for fingerpicking and lends itself to the smooth balance across the registers. This guitar might be from 2007, but to look at it you’d swear she was brand-new: there are virtually no signs of play wear (aside from the well-opened up voice). Coupled with an Ameritage hardshell case, it won’t be hard to keep it in pristine condition for many years to come.

We’ve got another killer in the shop today: a 2007 Tippin Crescendo in immaculate condition. Only the finest straight-grained Brazilian Rosewood is on display here, paired with a Moon Spruce top and Curly Maple bindings. Bill Tippin’s most popular model, the Crescendo has the dimensions of a large-bodied guitar and the articulation of a much smaller one, with none of the drawbacks of either. The Moon Spruce top is perfectly voiced to achieve Tippin’s trademark sparkling highs and strong middle register, which blend seamlesslywith a low-end that is resonant and well-balanced. Articulation and projection are the name of the game here: fingerstylists will love the ease with which arrangements manifest across the Maple-trimmed Ebony fretboard. The tone has a warm richness to it like hot cider on a winter day. Tippin’s fit and finish is flawless: this is a guitar which plays as sinuously as it is constructed. This guitar has been lovingly played and maintained by one owner, but it’s time to pass the torch to the next lucky musician. This guitar comes with the original Calton hardshell case.