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1976 Klein L45.7 Brazilian/Spruce
Looking for a full-bodied guitar with a huge, enveloping voice and the playability of a parlor? This, one of Steve Klein’s first guitars, can foot the bill–and then some. Built in 1976 as a lightly-braced model, this L45.7 has gorgeously tight-grained Brazilian Rosewood back, sides, neck, fretboard, and headstock, and a Spruce top which, when tapped, murmurs about the sheer depths of the guitar’s voice. Any fingerstyle arrangement will sound like heaven when these strings are set to vibrating. As we mentioned, this is one of Klein’s first guitars, when he was just beginning to experiment with the shape and design of acoustic steel string instruments, has a unique provenance: in this L45.7 you can see where many of his innovations will have come from. Moreover, this is an amazingly large-voiced and articulate guitar which performs best with lowered string tension to accentuate both the dynamic range it’s capable of and the almost breathy ease with which the Rosewood neck can be fretted.
SOLD Read moreScale Length 25.63 in Nut Width 1.75 in String Spacing 2.19 in Woods Spruce, Rosewood - Brazilian 
2013 Traugott BK Brazilian/German
We’ve got another masterpiece in the shop, folks. A 2013 BK from Jeff Traugott Guitars! Traugott’s phenomenal abilities are universally known in the guitar world, so you know when a guitar comes out of his shop, it’s going to be a stellar instrument. Traugott’s BK model is based on Dreadnought dimensions in the lower bout, but with a narrow waist and tighter upper bout reminiscent of a Grand Concert, which creates a sound that has both the expansive low-end of the former and the expressive articulation of the latter. Brazilian Rosewood back and sides and a German Spruce top, naturally, give the instrument an incredibly complex tonal palette right out of the box, such that this guitar sounds more like an instrument built twenty years ago, not just two! And loud? Yes, this guitar’s got tons of volume, and sustain. The extremely well-balanced nature of the BK model makes this guitar excel in a variety of modes, and really sing in lowered tunings like DADGAD. Irish players will love how energetically this guitar plays, and the clean, articulate warmth of its low-end. The upper registers have lots of presence as well, but don’t overwhelm the instrument’s other registers. Traugott’s decked these guitars out with a Venetian Cutaway for increased ease of playing, and the overall build is surprisingly light for hours of comfortable playing–which you’ll be doing, each time you pull this work of art out of its Hoffee hardshell case.
SOLD Read moreScale Length 25.4 in Nut Width 1.75 in String Spacing 2.25 in Woods Spruce - German, Rosewood - Brazilian 
1954 Gibson Southern Jumbo Mahogany/Spruce
Oh, the heyday of big-bodied, big-voiced Gibsons–it’s a blessing we still have some beautiful survivors singing in the aisles! We’ve got one of the flagships of the 1950s in the store today, looking great and still churning out great music. This 1954 Gibson Southern Jumbo may have some finish crazing (but what 60-year-old guitar doesn’t?), but it’s in great playable condition, capable of howling runs on the treble strings that hang in the air.
The bass is a complete package: boom-chuck, rattle-n-roll–perfect for thumbpicks and flatpicks both. The balance is superb! We wish more contemporary guitars sounded as rich and opened-up as this one. Mahogany back and sides and a Spruce top do this 1954 SJ justice; she’s got a big heart that’s still beating with vigor.
SOLD Read moreScale Length 24.75 in Nut Width 1.69 in String Spacing 2.13 in Woods Spruce, Mahogany 
1957 Gibson Country Western Mahogany/Spruce
Would that Mississippi John Hurt were still alive–the tunes he’d croon with this baby tucked under his arms! We’re looking at the real deal here, folks: true vintage: a 1957 Gibson Country Western. Mahogany back and sides, Spruce top, Ivoroid bindings, upside down Rosewood bridge. Fingerpicking blues or country tunes, and you’ll get a feeling for what they sounded like 60 years ago, when they were being written! The bass is huge and fat and balanced with trebles that are clear–the perfect combination for Travis-style picking. You’ll find this Country Western has that classic Mahogany bark in spades, coupled with a great, warm sustain that hangs in the air like smoke in a raucous barroom. This Gibson has been well taken care of all these years: after our very own Ken Jones reset the neck and refretted the Rosewood fingerboard, it’s as though we just picked it up off the rack in 1957–and it’s ready to make tunes for another 30 years, no problem. You’ll be very hard-pressed to find many other vintage Gibsons that are in as good of shape as this here Country Western!
SOLD Sale! Read moreScale Length 24.88 in Nut Width 1.69 in String Spacing 2.19 in Woods Spruce, Mahogany 
1987 Sobell 12 String Archtop Indian/European
12-String players, gather round: we’ve got one of the all-time greats in the store today: a 1987 Sobell 12-String Archtop! Stefan Sobell is recognized as one of the original builders of Irish bouzouki, and other double-stringed instruments, and his long career attests to decades spent honing his craft. It is always a pleasure to have one of his guitars in the shop, and it’s even more of a pleasure to have one of his 12-String Archtops. With Indian Rosewood back and sides and a carved European Spruce top, this guitar has a rich and dynamic range, with octave strings that project with clarity. What’s more, this guitar features 12×12 construction: it is both a 12-String and a 12-fret guitar. When these two design features are brought together, the result is effortless playability and an enveloping, complex tonality. Finally, Sobell believes that a 12-string design is best supported by an archtop body–and it’s clear why that is: the arched top creates just the right separation between the notes and make the pairs of strings discrete and clear. This is one of only a handful ever made and is as collectible as it is beautiful.
SOLD Read moreScale Length 25.5 in Nut Width 1.81 in String Spacing 2.38 in Woods Spruce - European, Rosewood - Indian 
New Buendia OMC Brazilian/German
If Leo Buendia is the future, then this guitar is the first step along a reverent, beautiful road. His 2016 OM Cutaway is fresh from the bench and arrived like most guitars do: wrapped in layer upon layer of cardboard. When we cut away the tape and the packing foam, we found one of the most beautiful, resonant guitars this shop has ever seen cocooned in a black-and-gold Hoffee hardshell case. We all agreed that this guitar was special–Leo’s work is astounding–but the instant Paul put finger to string, we knew something was different. The air is charged with a mesmerizing force: the bass string trembles; the German Spruce top shimmers in the light, its voice balanced as a dancer on the ball of her foot. Brazilian Rosewood from a luthier’s daydream has here been shaped into a creature whose richness is crushed purple velvet, and that hardly begins to encapsulate the depth and range of Buendia’s OM Cutaway model. The low-end is comprehensive, absorbing, respectfully balanced with the other registers, so the trebles can ring clean and strong. This instrument speaks through you, rather than the other way around, and the fit and finish are actually flawless–from Maple purfling miters to silky Nitrocellulose Lacquer. This guitar is what every fingerstylist is searching for, with its pianistic separation, resounding depths, and its ability to fill a room with myriad tones, each of them jewels.
SOLD Read moreScale Length 25 in Nut Width 1.75 in String Spacing 2.25 in Woods Spruce - German, Rosewood - Brazilian 
2003 Klein M43 Cutaway East Indian/Spruce
A guitar from luthier Steve Klein is an experience unlike any other. An instrument like this 2003 Klein M43 has stepped outside the land of traditional construction, and explores a new (and curvaceous) realm of possibility. Accordingly, the bass response has a depth and scope to it which speaks in clear, articulate sentences about what a low E string can sound like, if given the opportunity. Folks, Klein has most certainly given this guitar the opportunity, both to express itself with an enormous, enveloping voice and to maintain a focused, precise tone. Trebles which sing confidently, accompanied by subtle shimmering overtones, and a middle register perfectly attuned to the overall balance of the voice–these features help establish this guitar’s incredibly complex, defined tone. For such a large instrument, it’s effortless to play, thanks in no small part to Klein’s delicately thicknessed Spruce top, East Indian Rosewood back and sides, and lightweight bracing system. More than capable, this M43 is an opportunity to explore new textures and plumb new acoustic depths–and the Highlander IP-2 Pickup and Internal Mic allows those explorations to spill into electric territory with amplification that’s 100% faithful to the M43‘s acoustic range.
SOLD Read moreScale Length 25.4 in Nut Width 1.75 in String Spacing 2.13 in Woods Spruce, Rosewood - Indian 
1950 Gibson J-45 Mahogany/Spruce
Perhaps Gibson’s most iconic acoustic guitar, the J-45 has a long and immensely celebrated career, and we see many of these “workhorses” come through the shop. Some are beautiful and pristine, some road-weary with scratches but tonally sublime. Occasionally, we get a J-45 which combines the two, and is as beautiful to behold as it is to play–and this 1950 J-45 is just such an instrument. Gibson’s practically trademark tone–rich, fat, loud–comes pouring out of the soundhole from the first chord to the final note. The trebles are sweet and bright as candy canes, and the bass is well-defined and present. Clearly, this Dreadnought has been lovingly played for the past six decades, and it’s soaked up years and years of music between its birth in 1950 and its golden age today of 66. The Mahogany back and sides combine with the Spruce top in a voice which sings as though from another era, a happier and brighter place. The craftsman who carved this neck was brilliant: the profile is perfectly rounded and easy on the hands, which is perhaps why Chet Atkins himself signed the top–a sign of respect for the instrument’s capabilities. Safely protected in a new Guardian hardshell case, this J-45 is ready for another 60 years of great tunes.
Watch these videos below to see Cliff Eberhardt singing with this very same J-45:
SOLD Read moreScale Length 24.75 in Nut Width 1.69 in String Spacing 2.13 in Woods Spruce, Mahogany 
New Tippin Crescendo Brazilian/Spruce
If we ever got a guitar from Bill Tippin which didn’t completely blow us away, we might need to hang up our hats and quit the business. Lucky for us (and you), that’s simply not the case: a Tippin guitar is incapable of sounding anything less than stunning. The Crescendo we’ve got here is proof of that. Custom-built for one of our clients, if it’s a feature Bill offers, you’ll find it on this guitar. From the asymetrical swooping soundport and arm rest bevel to Bill’s gorgeous two-piece Honduran Mahogany-and-Ebony carved neck block and Mother-Of-Pearl adorning every surface, this is a guitar which looks as amazing as it plays. Our client requested the best of the best, so Bill used a chocolate-dark set of Brazilian Rosewood for the back and sides and a creamy moon-harvested billet of Swedish Spruce for the top, which when combined produce a voice which has resounding depth, surgically precise seperation between the strings, and trebles with huge presence and unflagging sustain. All of that rich, fearsome tone has been gracefully bound up in an elegant display of Mother-Of-Pearl across the headstock, Ebony fretboard, Blackwood trim, African Blackwood rosette, and bridge pins. Fingerstyle or flatpicked, this Crescendo is more than capable to turn the simplest melody into a lush concerto.
SOLD Read moreScale Length 25.5 in Nut Width 1.75 in String Spacing 2.31 in Woods Spruce - Moonspruce, Rosewood - Brazilian 
2008 Beauregard MB Semi-Hollow Maple/Spruce
At Dream Guitars, we often have players visit of such calibre that we’re struck dumb when they take a guitar down to play. Not nearly as often are we reduced to silence simply at the sight of a guitar–but this 2008 Beauregard MB is just such an instrument. Whoa! Beauregard has outfitted this beauty with two powerhouse P90 pickups which can scream for Blues while at the same time remaining fat and warm for Jazz. Versatile, in a word. This is as dynamic as they come, with a glossy finish that is feather-smooth to the touch. With arcing curves like a drop of water sliding along the face of a wineglass, this Beauregard MB in Maple and Spruce might be the most beautiful Semi-Hollow or Archtop guitar we’ve seen. Its previous owner has been incredibly careful, too: this is a gem with no discernible marks to mar the surface of the Spruce or the Ebony bridge and tailpiece.
New M1 Mahogany/Mahogany
Dressed up in a black suit for the Blues, this isn’t your run-of-the-mill National Reso-Phonic guitar. Custom built to our own Paul Heumiller’s requirements, this M1 combines the earthy richness of an all-Mahogany body with the complex tonality of a tricone resonator (here housed in an antiqued brass shield)–giving this M1 a dynamic voice to bring extra color to your Blues or American Traditional arrangements. The neck features a smooth, round profile and has been tung oiled to be lightweight. Overall, the instrument is surprisingly light for a resonator, but still manages to crank out some seriously fat tone with great projection. Played in standard or DADF#AD with a slide, you’ll notice the presence of the middle registers, especially the A string, and the bright pop of the trebles. This M1 has an impressive attack, managing to be both focused and have a round edge, and will be hard (if not impossible) to put down.
SOLD Read moreScale Length 25.63 in Nut Width 1.75 in String Spacing 2.31 in Woods Mahogany, Mahogany 
2010 Santa Cruz Style 1, Brazilian Rosewood/Italian Spruce
These days, parlor guitars are starting to experience the same degree of popularity they enjoyed in their heyday during the early 1900s, thanks to advancements in modern amplification technology and a folk and traditional music revival. Naturally, builders are also expanding their lineups to include smaller-bodied guitars for their rich tonality and comfortable playability. The Santa Cruz Guitar Company has been making parlor-size guitars for some time now, and this 2010 Style 1 Custom is an excellent example of their work. Featuring a seductively figured Brazilian Rosewood back and sides and Italian Spruce top, sparkling Abalone flowerpot inlay and MOP snowflakes, and Brazilian Rosewood bindings, you’d be hard-pressed to find another parlor in this price range that looks (and sounds) so beautiful. All that Brazilian lends this guitar a rich and dynamic range, and when paired with the Italian Spruce’s drive, creates a voice with big-bodied sustain. Santa Cruz has given this Style 1 a soft-V neck for vintage appeal and easy fretting, and the 12-fret design makes the strings expressive but not overly tight. Whether it’s for American Traditional fingerpicking or Open D Blues, this Style 1 is a powerful instrument that’s hard to put down.
SOLD Read moreScale Length 24.75 in Nut Width 1.84 in String Spacing 2.31 in Woods Spruce - Italian, Rosewood - Brazilian 
2006 Olson Parlor Brazilian/Red Cedar
We’ve got another jaw-dropper here from legendary luthier James Olson. Jimhappily built this one as a custom order for a good friend of ours, and he clearly enjoyed his work, executing the binding with figured Brazilian Rosewood and Abalone trim. This is a stunning parlor model, something James doesn’t get to build too often, and it’s beautifully appointed, flawlessly executed. The voice is nuanced and dynamic, bringing a powerful and articulate low-end to the mix, perfectly balanced with crystalline trebles and a warm, responsive middle register. The thunderous tone of Olson’s SJs is found here in a compact and infinitely playable package: Brazilian Rosewood and Red Cedar make this a true gem from this Minnesota Master.
SOLD Read moreScale Length 25.25 in Nut Width 1.75 in String Spacing 2.25 in Woods Cedar - Red, Rosewood - Brazilian 
New Rein RJN-3C Cocobolo/European
We have a commitment here at Dream Guitars: to find the perfect guitar for each player who comes to us looking for an instrument to inspire them–and this brand new 2015 Rein RJN-3C might be the perfect guitar for just about anyone out there. Thomas Rein has been building excellent acoustic instruments since the 1970s, ranging from Classical to Lutes to Steel Strings, and has incorporated a series of unique design features to overcome many of the maladies of wooden-bodied instruments: tops with too much belly, bridges pulling up, necks needing multiple resets. His solutions include, and are exhibited here, an alternative top-bracing system which employs a curved brace across the lower bout below the bridge where tone bars traditionally reside, and a fully (and easily) adjustable neck.Innovations aside, this RJN-3C showcases some of the best characteristics of the finest fingerstyle guitars. With Cocobolo Rosewood back and sides for richness and depth, and a European Spruce top French Polished to be as light as possible for clarity and attack, this guitar both whispers and shouts with equal aplomb. Rein has given this guitar Maple and Nigerian Rosewood purflings and a superb glossy finish, imparting a glassy smoothness to the neck which dovetails perfectly with the slinky low action to allow for speed and clarity. But the dream continues! There’s also a swooping Florentine Cutaway for easy access to upper frets, and a smaller body which is infinitely comfortable to hold and to play.As crisp as frosty breath on an icy morning, this RJN-3C from Tom Rein has an incredible potential for fingerstylists of all walks, capable of explosive crescendo and delicate ballad. It handles Blues-Jazz to fit Lyle Lovett, percussive taps, or Celtic fingerstyle arrangements with the same level-headedness of a beautiful machine–this guitar is a professional.
SOLD Read moreScale Length 25.4 in Nut Width 1.75 in String Spacing 2.25 in Woods Spruce - European, Rosewood - Cocobolo 
2003 Martin D-42K2 Koa/Koa
Koa, Koa, and more Koa! One of Martin’s coveted all-Koa Dreadnoughts, this 2003 D-42K2 has the lucky opportunity to have the best of both worlds: it sounds as gorgeous and aggressive as it looks. The typical Koa tone, this guitar has in spades–dry and crisp, with lots of punch in the mids–and with the typical Dreadnought voice (huge and brash), this guitar reinforces why Martin Dreadnoughts are the best in the business.And she packs a wallop, of that you can be sure. Flatpicked Old Time or American Trad music rings with muscularity and bark. Country Blues fingerpicking really lets the trebles shine, accentuating the great balance across the strings. With projection like an ocean wave–tsunami-size–and a sustain which hovers like endless sky, this D-42K2 has a primal, vigorous tone perfect for group settings and an aggressive attack. And, with shimmering Abalone trim, inlay, and rosette, you’ll be the envy of every guitarist.