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Crack-free, and superb tone. One of the finest sounding large bodied Gibsons we’ve ever heard. -
A wonderfully balanced and resonant Martin 00-28G, with some of the most beautiful Brazilian rosewood you’ll see on any Martin guitar, and in wonderful, crack-free, original condition. The Martin “G” is very different from the “C”. The “C” has the Martin 12 fret body. The “G” model used the 14-fret style body shape, but with the 12 fret neck, slotted headstock, and 25.4 inch scale. The 00-28G was first produced by Martin in 1936, and was discontinued in 1962, when Martin went to all “C” style for nylon string guitars. The 00-28G was Martin’s top of line model for nylon strings, from 1936, to 1962… and this guitar is the best example available on the market. The condition on this instrument is superb. No cracks anywhere, and very little wear at all... it's almost perfect. All original, tuners, nut, bridge, saddle, etc. Neck is perfect, has never been set, and shows perfect set up and action. -
This is not your father’s J-55. And it’s not a $20K guitar. It is a wonderful player. This is an original 1939 Gibson Jumbo 55, also called the “J-55”, serial # EA5652. It is the rare, stair step headstock model, only made for a brief window in the late 30’s. It delivers the trademark, large body, prewar, long scale Gibson tone, like no other. It plays beautifully, with original bridge, frets, braces. This guitar has of course the original, Mustache bridge, and more rare– the stair step headstock. Original bridge plate. Original binding including on fretboard. Original pearl logo on the headstock (with original finish). The pickguard is a nitro cellulose reproduction meticulously crafted in our shop. It has the long scale, 25 ½ inches, that makes this model so great. And a little-known original feature of this rare model is that it has a 1 11/16 nut width, that combined with the low action makes it effortless to play, and with tone that cannot be equaled in any postwar Gibson. The intonation is spot-on, and the intonation and fretting/action are great even at the high fret positions. It was refinished in a deep Gibsonesque red, decades ago– and that makes this guitar the most affordable true 1939, stairstep headstock J-55 you will ever find. (Top thickness is fine, there was no thinning in the past). The tone is superb. And the action is superb– low and fast without sacrificing tone or volume at all. -
This is a very well made, custom Hawaiian guitar. Made by George Bailey, and signed and dated underside of top, 2009. The body style is similar to an early Ditson. In other regards, its size, sound, and feel is quite similar to a 1930’s Martin 0-17H.- Mahogany back, sides, and top
- Mahogany neck
- Ebony fretboard
- Ebony bridge
- Flush frets, with raised nut and saddle, for Hawaiian playing
- Ladder braced
- Lower Bout width: 13 ¼ inches
- Scale length: 25 inches
- 1 ¾ inch nut
- Crack-free
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Signed by Martin factory foreman, underside of top: “Dec. 8, 1893”, this 0-28 is in wonderful original condition.- Instrument is 100% original: finish, bridge, ivory nut, ivory saddle, ivory bridge pins, bar frets
- Brazilian Rosewood Back and Sides
- Adirondack Spruce top
- Shows very little wear
- Scalloped braces (X-braced)
- Original maple bridge plate in perfect condition
- Original French-polish shellac finish throughout
- 13.5" wide at lower bout, and 4.25" deep at the endpin
- 24.9" scale length
- 1-7/8" wide nut
- Soft-V neck profile
- A couple small top cracks, professionally repaired and not an issue. Two finish checks/cracks, that due not go through wood, on back
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Martin established the X-brace as the standard in American guitars, but that was never pre-ordained, or set in stone. The fan-bracing of the Spanish guitar has equally appealing qualities, and is a century-plus long standard that continues to dominate the design of the classical and flamenco guitar. Not an “Estudio” (student) model, this is the top of line model, 1a Ramirez flamenco. If you’ve never played one of these exquisite cypress Ramirez flamenco guitars–you’ll be surprised at the tone. Spanish cypress back and sides. Cedar top. First of all, the guitar is so light. It floats in your hands, yet it’s tight as a drum. It’s one of the lightest guitars you will ever play (due to the lightness of the wood, and also to the use of tuning pegs–so that the head and neck of the guitar are not pulled down by gravity, allowing the head to float effortlessly at about eye level. And the raspy bass is unbelievable. It’s all about that percussive tone and throaty bass. Conventional wisdom says rosewood for a “classical” guitar, for sustain; and cypress for a flamenco guitar, for the percussive, throaty quality, and more volume. Action is low, as it should be for flamenco. And that wonderful wide nut (2-1/8 inch), you’ve got so much room to move on this beautiful ebony fingerboard. Original finish. As with almost all these old Ramirez flamencos with the tap plate on top, there are shallow, thin hairline cracks where the top edge, and bottom edge, of the tap plate (clear plastic) meets the top (similar to the small cracks you get on an old martin, due to the guard being glued to the top). There is also a six-inch long hairline finish crack on the top above and parallel to the fingerboard (does not go through the wood), and a 3-inch long hairline finish crack below the fingerboard. A few dings here and there, but finish is that original, beautiful high polish reddish-amber. -
19th century Martin parlor guitar. This lovely sounding Martin 2 1/2-17 features solid Brazilian Rosewood back and sides, Adirondack spruce top, and original Jerome tuners. This particular instrument has a beautiful, lyrical voice. It was made probably circa 1867-1870. There are several clues to establish that: the original coffin case with the guitar has attributes of an earlier case: the small brass handle, and the label inside the case has font and other attributes of late a 1860s case. Also, the particular style of the original Jerome Tuners. Kerfing inside is also indicative of an 1860’s Martin. And, the best clue of all: the 1 ¾ inch nut width. Of course, it’s post-1867, because of the “CF Martin & Co” stamps inside. The top is fan braced, typical of this style. Measurements are: body length 17 7/8", lower bout width 11 5/8", overall length 36 1/2"; scale length 24 ½ inches. 4 inch body depth at end pin; 3 3/8 inch boy depth at neck joint. 1 ¾ inch nut width– may have been a custom order, or just a slightly narrower nut width (from the 1 7/8 more common later) from the factory. 12 fret cedar neck/ebonized, with ice cream cone heel. All original finish, everywhere. A fair-to-low amount of playwear (see photos). Original bar frets in fine condition. Several small hairline cracks in back, repaired. Top and sides also have a couple or repaired cracks. Reproduction ebony bridge– just made by Dick Dubois.. Original bar frets. Original bracing. "C.F. MARTIN &CO/ NEW YORK" hot stamped on back strip inside, and heel block. CF Martin New York stamped on back, by heel joint. Original Jerome tuners, with original buttons– note, one of the sun gears (on the G string tuner) has been replaced, with a different 19th century Martin sun gear (see photo). Historical interest aside (these just-post-civil war Martin guitars are more rare than the 1870’s/1880’s/1890’s examples), this guitar plays wonderfully. It projects glassy brazilian trebles, and clear mids and bass notes. It’s just a joy to play, and it just floats in your hands (due to its very light weight). Action is good, and it plays in tune even on the higher frets. (Note: 19th century Martins can be fitted with: gut strings, classical guitar strings, or sometimes silk and steel/tuned down–depending on the guitar. It’s really a case-by-case basis. One size does not fit all. And different 19th century Martins sound better with different strings. In this case, with this particular guitar, our favorite strings if you want a “classical” style string but more brightness and volume than nylon classical strings: Savarez Alliance composite High Tension strings (note, “high tension” by classical standards– fine for this instrument). This instruments sounds wonderful with those strings. In is original coffin case (and case has all the original hardware, as well as its original cloth interior lining). -
Kohno Classical Guitar. 1976 This instrument is being sold for a customer in Houston with a large collection of guitars. This guitar was originally purchased from VintageAmericanGuitar some five years ago– and its tone has aged and improved. The original Kohno design was specifically different from the high-end Spanish "concert" guitars of the day which had high action and beefy necks (and often long 664 or longer scale lengths). The Kohno necks were moderately thin in profile and shaped for very fluid playability. They’re a joy to play, physically. The 660 scale length– not overly long to begin with– actually “feels” shorter because of the neck design. (And the string spacing at the 2-inch nut: 1 11/16 inches, is also a great feature that adds to the great left hand feel.) We’ve seen/played many Kohnos– this one is unique in the combination of woods, and tone. Cedar top (not spruce), and Indian Rosewood back and sides. The combination, and this guitar’s age and unique voicing produce a dark, bass-rich tone and super clear and strong mids rarely found in a Kohno. It’s louder, darker and deeper than other Kohnos, yet is has great string separation– and the high E string is bell-like and loud.- Solid Cedar top
- Solid Indian rosewood back and sides.
- Mahogany neck with 2 ebony strips
- Ebony fretboard
- 19 frets
- Rosewood bridge
- Gold engraved Fostero tuners. Fustero tuners are individually made by hand in Spain from the best materials…for decades they have adorned high end instruments built by Fleta, Ramirez, Kohno, Contreras, Bernabe and others.
- 660mm scale length
- 2" nut width
- String spacing at the nut: 1 11/16 inch
- Condition: One, repaired cracks:4 1/2 inches long, about 2 inches to the north (bass side) of the fretboard extension over the body.
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In the 1920’s and early 30's, the Hawaiian craze was in full bloom, and ukulele production was crucial to Martin’s success in this period. This is a wonderful, extremely well-preserved example of one of the most ornate of the Martin ukuleles, still in its original Geib case. Although Martin ukes built after 1916 carried no serial number, it’s possible to generally date them by stylistic elements. This Martin Style 3 is from the best era, the golden era, from about 1925 to 1930. Martin style 3 was first made in 1918. Martin Style 3, soprano (standard) specs:- Mahogany body
- 7 layer top binding
- 3 layer back binding
- Ebony fretboard
- 5 layer soundhole ring
- Celluloid ornament on top, behind bridge (known as the "parend", or “shield”)
- Bar frets
- Small pearl paired-diamond inlays at fret 5, 7, and 9
- Three lines inlaid down center of fingerboard
- Nickel plated pegs (introduced in 1923)
- CF Martin & Co, stamped on back of peghead, and inside-back (Martin logo was not put on front of peghead until 1932)
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A steel-string braced 00-18, with finely scalloped braces, and light as a feather. No wonder the tone is exquisite. This 12-fret gem, from the best era for Martin12-frets, resonates in your hands (say what you want about the 30’s, but the more lightly-built Martins of the 20’s become an extension of your body). The set up is low (4 to 5 64ths), so it plays like a dream. Original finish throughout. Mahogany back and sides. Adirondack spruce top. Ebony fingerboard. Original tuners/gear wheel below worm gear, ivoroid buttons. The instrument was acquired from one of North America’s top Martin restoration shops, Folkway Music, who reported: “This 00-18 went back to Martin in the late 80's for a neck reset, refret, re-bridge, and a new bridge plate. The back has one repaired crack, and there are two well repaired side cracks. Martin's repairs are well done, the new bar frets are nice and tall, and the bridge plate (maple) is only slightly oversized. The somewhat oversized pyramid bridge didn't look great when the guitar came in, so we re-profiled it here in shop and fitted a new bone saddle and vintage-correct bridge-pins.” This instrument will not disappoint. It has been correctly and meticulously restored by Martin, and by one of the world’s top Martin experts. It’s ready for decades of enjoyment. -
Pre-war Kluson tuners from the 1930's. Amber buttons. These are rare tuners that came on some of the nice Gibsons of the era, such as a few Gibson J35's. Good working condition. Price: $295. – on Hold -
Stuart Mossman was one the country’s top luthiers in the 1970s and 80s– working in the tradition of the great American Dreadnought. According to an article in Vintage Guitar magazine: Stuart Mossman “…. began making guitars in 1965 and through his early efforts concentrated on experimenting with bracing of the tops. He spent four years building 40 or 50 prototypes in his garage at home. By the end of the decade, sensing a niche in the market for high quality handmade acoustics, he had incorporated S. L. Mossman Guitars in Winfield, Kansas and moved into facilities at Strother's Field outside of town. Mossman had noticed what was happening with major acoustic guitar manufacturers at the time. The folk music boom had pushed demand for acoustic instruments to an all-time high and while Gibson, Martin and Guild were increasing production, imports from the Pacific rim countries were beginning to exploit the lower end of the market. Mossman was concerned with what he saw as an erosion in materials, design, and craftsmanship in the construction of the traditional flattop acoustic guitar, particularly among the larger manufacturers as they rushed to meet the strong demand. Using only top-quality woods, a proprietary bracing structure, and old-world building techniques, Mossman guitars entered series production in 1970. ‘We were the first of the small manufacturers to make it as a larger company', Stuart Mossman recalls…” The original 70’s Mossman dreadnoughts are very well built, with attention to detail, and craftsmanship unsurpassed in this period. One of the hallmarks of the Mossman guitar is that each instruments has a paper label inside, with the serial number (that included the year date) and model. And the label was always signed or initialed by the craftsmen building that guitar (this one includes Stu Mossman’s initials: SLM). The Flint Hills model featured East Indian Rosewood back and sides, spruce top, ebony fretboard and bridge, and a unique inlay around the soundhole. This example is all original, and is in fine condition, with no cracks. Original West German Schaler tuners. It has an under-saddle pickup installed, and an input jack in the end pin. Tone is fine, and loud, reminiscent of a 60’s Martin– but with a little more punch in the mids and trebles– a perfect bluegrass instrument. -
Out of stock
1855-1860 Martin “transitional”1-21. A very rare and exquisite large size Martin from the pre-1867 era. “Large size” Martin from the 1850’s, because the Size 1, and 0, were the only “large” size Martins in those years. And there is currently not a single other size 1 or 0 size pre-1867 Martin guitar on the market. This is considered by the top U.S. experts who vetted this instrument as an early, rare "transitional" 1-21, based on the fact that it does not have all the later, standardized, 1860’s and on “21” attributes– specifically, backstrip and endwedge on this instrument are not typical of “price-list” era 21’s (after the publishing of the first Martin price lists, establishing features of the different models, in the 1860’s) This 1-21 has:- Diamond marquetry backstrip (not found on later, 1860’s 1-21s)
- Marquetry endwedge (not found on later, 1860’s 1-21s) (Wood end wedge and herringbone backstrip were the standard features of the 1860’s and after 1-21’s)
- X-braced. All braces are 100% original. No internal repairs to braces.
- Slot head
- Ebonized neck (maple neck, ebonized, i.e. painted black). This is another transitional feature: black neck was replaced by cedar on Style 21 by the time the Martin price list was first printed.
- Single "tone bar" brace behind the bridge plate
- Ice cream cone-shaped heel (1860’s 1-21’s had cedar neck, with Spanish style heel not ice cream cone heel)
- Three "CF Martin New-York" stamps: one inside center strip; the second on neck block (this stamp is upside down, as it should be); the third on back of guitar (near heel), the third stamp transversing the backstrip on the back of the guitar near the heel.
- Solid Brazilian Rosewood back and sides
- All original finish, everywhere; no touch-ups, overspray, etc, of any kind ever done
- Brazilian rosewood back shows beautiful sawmarks
- Bridge, more than a century old, is probably a replacement bridge… but on the original bridge footprint
- Original ivory nut
- Original bridge plate (mahogany)
- No back cracks, or side cracks; one top crack, repaired
- Tuners are modern replacements, vintage style, in original slot holes
- Original frets
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The 5-21 Martins, with their Brazilian Rosewood back and sides and Adirondack spruce tops, are known for putting out an astounding amount of sound. This tenor guitar, style 5-21T, does that in spades. Measuring 11-3/8" across, with its X braced top and light build, the instrument has an amazing amount of tone. Though Martin offered size 5 models ranging from style 15 through the elaborately ornamented style 45, the only ones made in any significant quantity prior to World War II were the style 17, 18, and 21 in six-string guitars and styles 17, 18, and 21 tenors, as well as some style 15 post-war size 5 tenors. Features of this instrument:- Recent neck set, and leveling of original bar frets, action is very good
- Original Grover tuning machines, working well
- Nut width of 1 1/4"
- Scale length: 22.5"
- 1 3/8" string spacing at the saddle
- Had an added tailpiece at once point (3 tiny screw holes near end pin
- No top cracks
- One repaired 11" crack on the bottom lower bout side
- One 6" repaired crack on the upper bout back under the herring bone center inlay,
- One 4” repaired crack on the lower bout back towards the bottom
- A small hole at the center of the rear headstock– probably at some point for a nail to hang the instrument on a wall
- Neck has a comfortable V shape, leaning toward a U profile
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Read the full description below. If you're interested in this guitar, please call 512.922.8596 or contact us here. -
Very few modern luthiers have captured that Larson Brothers sustain and what I call “shimmer” with a new build. This guitar, built by the master luthier Hans Brentrup in late 2009, has it in spades. We’ve never played anything but a 30’s Larson Bros’ that has the sustain this guitar has. Hans’ unique tone bars do what only the Larson tone bar system did– get the body of the guitar to sustain and impart that wonderful shimmer to the trebles especially.- Brazilian Rosewood back and sides
- Engelmann spruce top
- 000 size
- 25.34 scale length
- Easily accommodates Medium or Heavy strings
- Hybrid ladder laminated bracing with Carbon fiber “Tone tubes”
- Mahogany neck
- Slotted headstock
- Golden Age tuners
- Ebony fingerboard with MOP dots
- Pyramid bridge
- Tortoise body binding
- Lacquer finish
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Mint condition. Period. Exceptional Larrivee 12-fret parlor guitar with a straight grained Sitka Spruce top and beautifully figured Brazilian Rosewood back & sides. Part of a very limited run of guitars built of high grade old stock Brazilian rosewood. Abalone rosette and tortoise shell pickguard. Ebony bridge w/ compensated saddle. Mahogany neck w/ microdot inlays, ivoroid bound ebony fingerboard, 1-3/4" nut, 24-1/4" scale, 13-1/4" lower bout, Larrivee logo peghead inlay, chrome tuners w/ebony buttons. -
This rare 1926 example of Bacon & Day’s Super, Plectrum banjo is in wonderful condition– collectors quality, but it plays wonderfully. And this is the rare “Super” model A, gold plated. (All original, and with matching serial number on rim and dowel stick.) Original soft pedal stamped "Pat. Pend. B.&D. Soft Pedal." The original gold plating is in great condition, showing extremely little tarnishing, and no thin spots. In fact the banjo shows very little playwear at all. Original plectrum neck, original armrest– in fact all parts are original. Produced in the golden age of Bacon & Day (B&D) production, this banjo was made in Groton, CT. Although the earliest Bacon banjos were produced by various makers for Bacon from 1906-1920, the company’s best era began in 1922 when David Day left the Vega company to partner with Fred Bacon who had begun crafting his instruments in-house in 1920. The B&D banjos produced in this era are of considerably higher quality and are the sought after models by both players and collectors. The photos tell the story. 26 inch scale length. 22 fret plectrum 11″ rim In a recent hard shell case. ... no longer available ... -
This week, to honor the just-announced winners of the 2018 Wayne Henderson Guitar Festival, we call out not an individual guitar, but rather one of the greatest American luthiers working today– and especially that luthier’s (and great player’s) work for youth in his area. We’re speaking of course of Wayne Henderson, and his legendary Festival. Every June Wayne Henderson hosts on of the most culturally important music festivals in the U.S., at the amphitheater in Grayson Highlands State Park near Henderson’s home and shop in Rugby, Virginia. The guitar- and generally music-loving attendees hear great music while supporting scholarships for young musicians in the area. And at the heart of the festival is the guitar competition. Click here to see the just-announced winners. And here’s a look at Fretboard Journal’s visit to the festival– and to Wayne Henderson’s luthier’s shop– a few years back. Click here for the article. . -
If there is a better-preserved Martin guitar from 1937, we have not seen it. This instrument is as an almost time-capsule condition 0-17H, still in its original case. And of course with its original Hawaiian set up. Many people convert these pre-war Martin Hawaiian set up guitars, to “Spanish” style, i.e. regular steel-string flat top set up. And that is certainly an option for whoever acquires this instrument. But this example, is just too nice, and too original for us to want to convert it. And the tone is exquisite (On request, we’ll send you a link to a video/audio clip of one of this country’s best, most famous dobro/pedal steel players playing slide on this great Martin 0-17H, right here in our shop.) All mahogany of course: mahogany back, sides, and top. Brazilian rosewood bridge, and fretboard. The guitar has no play wear. We won’t call it pristine– even under-the bed-guitars that have not really been played, have a few nicks from just being in the case and moved around a couple of times in 70+ years. But it’s as close to perfect as you’ll find in any 1930’s Martin. The neck is straight as an arrow, showing no bowing at all. No cracks of any kind. All original parts, period– down to the nut, bridge pins, and ivory saddle. The guitar is 12 fret to the body, unlike the regular 0-17’s from this period that were 14-fret. -
Take Martin’s best era for 12-fret guitars, add more scale length, and you get the best of both worlds–that’s what players say about the 000 sized 12-frets, if they can find one, from the mid to late 20’s. This was the biggest, loudest Martin made for steel strings in this era, with a 25.4 inch scale length, the same scale length as a 30’s D-45! (The 14-fret 000’s of the 30s and later have a shorter, 24.5 inch scale). In no other instrument will you get the resonance (from thin tops and back), combined with the long scale length. It’s a big pre-war Martin 12-fret. That’s why this instrument is a highly sought-after prewar Martin. This crack-free 000-18 has great provenance: acquired from and set up by one of the world’s top Martin experts (in Tuebingen, Germany). 1 7/8” nut. Mahogany back and sides. Adirondack spruce top. Ebony fingerboard. It has original tuners (gear wheel below worm gear, ivoroid buttons), parts, and all original finish. Restoration by TJ Thompson and Dana Bourgeois: correct replacement bridge (ebony pyramid) and bridge plate (maple), and frets replaced (bar frets). Center seam repaired and cleated and touched up (shellack). Neck has been reset. Neck is dead straight, bridge saddle is medium height (allows set up for both higher and lower action if needed in future). Low action, and set up for light or medium gauge strings. The tone could not be better: all the clear separation of the mids that is the hallmark of the 20’s style 18 twelve-fret, but with fuller, louder, rounder bass. One of the most sought-after Martin 12-frets, original finish, crack-free. Restored correctly, cared for, and set up by the world’s best luthiers and vintage Martin experts, and ready to enjoy. -
Full size, Charles Fetique violin (French, early 20th century – circa 1930), with original label inside. This is a rich, sonorous instrument. A deep, round tone, that – like all good violins – does not make you work overly hard to attain. It has a darker, lush, round tone that professional players love – and great projection. We recently A-B'd this instrument against $5k+ violins in the area, and there was no comparison, this instrument was louder, more full, more round and full in the bass notes, and all around a stellar performer. This violin would be a great student violin upgrade – for that aspiring violinist who is ready to graduate to, and enjoy, a better instrument than what's typically available in the $4-5K range, at a very attractive price. And, the buyer will have the confidence of both a Letter of Expertise, and a professional appraisal: • Certificate: Jean-Jacques Rampal, Paris, 2014. (This is the letter of expertise, on this violin, from one of the top experts on French Violins, in Paris, France). And: • Written, professional appraisal of the violin, done from personal inspection, from one of the top violin shops/experts in Texas (Jay R. Rury Violins, Dallas), with a valuation of $3,500.00 Both the above documents will be included with the sale. The violin is in excellent condition. There are no sound post, or bass bar cracks. It was professionally set up to play, by Blackerby Violin in Austin. In a modern Tonerelli case. Price: $3250. -
Joseph Redman, based in Abingdon, VA, makes some nice, hand made, yet affordable classical and flamenco guitars. Their low price tags don’t reflect the quality of materials in each instrument. This was a custom order, featuring European Maple back and sides, and all hand French polished by Redman. Nice, rumbling bass response. The Maple tone here, doesn’t show up in the trebles as much as it does in the bass– adding a Maple crispness to the bass strings.- Finish: hand-rubbed French Polish
- 650mm Scale length
- European Maple back and sides
- Canadian Spruce top
- Ebony fretboard
- Neck: Spanish Cedar
- Bindings:
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A wonderfully preserved, crack free 12 fret 000-28 Martin, with gorgeous Brazilian rosewood back and sides. The tone of this instrument is wonderful. It stands up to many high end Spanish made classical guitars of the period for Brazilian rosewood warmth. While intentionally not built for concert hall volume, the bass tone and clarity of the trebles on large-bodied Martin nylon strings guitars with Brazilian back and sides is unsurpassed. This instrument is very well set up to play on stage, plugged in, and to record, if desired. It has great high end Gilbert tuners, with black housing, abalone dot and snakewood buttons. (Original tuners, in perfect condition, are in the case, so you can easily replace the originals if desired.) This instrument has an excellent custom engineered stereo pickup system, installed without altering the guitar: The pickup is the undersaddle type, supplied by EMG. The separate mic element is assembled in a foam mounting block with cable, endpin jack, custom made for this guitar. It is unobtrusive in its mounting. Jack is mounted in the endpin hole, so there are no extra holes in the guitar. The output jack is stereo, TRS (Tip wired to pickup, Ring wired to mic, and Sleeve is ground.) The addition of the internal mic adds a realism and depth that no pickup by itself can capture. The EMG pickup is excellent compared to most others in terms of exhibiting less of that harsh piezo sound. The result is a guitar that plays beautifully amplified, or on its own. The Martin “C” has the old elongated Martin 12 fret body. It was offered in the 00-16C, 00-18C and 000-28C in 1962. 1966 saw the last 000-28C. There were not many nylon string, 000-sized 28 models made, and fewer still with the quality of Brazilian rosewood this one has. And the condition on this instrument is stunning. No cracks anywhere, and very little wear at all. -
Another instrument from Enos Hernandez of Mexico, one of the best luthiers to ever live in work in Mexico, circa 1970’s. This one is a flamenco Blanca, with the classic cypress back and sides. Like the other Enos Hernandez we have, this one also has a cedar top. The instrument is super light weight, as a Flamenco Blanca should be, and it’s bright and percussive and raspy as a good Blanca should be. There is a scratch (not a crack) on back of guitar (see photo). There are dot position markers – original to the guitar, i.e. not added later – on top edge of fretboard (frets 3,5,7,9 – see photo). Scale length: 660mm Available January 2018 Price: $2950 -
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This extraordinary guitar, completed by C.T. Beitel in June of 1894, is signed and dated by him on the underside of the top. The guitar is in remarkably original condition. And it plays wonderfully. C.T. Beitel (Clemence T. Beitel, 1869-1916) was closely associated with C.F. Martin & Co. in the 1890’s. The Beitels are well known to have been closely associated with the Martin family in these years, both personally (including through marriage) and in the Martin guitar business. According to some correspondence and background research from family members obtained with this guitar, C.T. Beitel was the first American-born person to serve an apprenticeship at Martin Guitars. C.T. Beitel was a cousin to C.A. Zoebisch– who was of course the famous Martin guitar distributor and sometimes-partner of C.F. Martin & Co. in this period. Although this guitar is strikingly faithful to Martin specs, this is most likely one of C.T. Beitel’s guitars made by him to market separately from Martin. It is documented that at least one of the Beitel family had an ongoing guitar making and marketing business in the late 1890’s. Is this Beitel guitar one of the first made under the “Beitel” name? Certainly. Are there others remaining today? There are none known of by us–making this a rare and highly collectible guitar. Similar to a Martin 2-27… but not exactly. More like a cross between a 2-27, a “28” style–because of the wonderful Herringbone purfling/binding on the top– and a 30’s or higher style with its very fancy Jerome tuners.- No “Martin” stamps anywhere
- “C.T. Beitel” paper label on neck block (Martin stamp beneath the label? Uncertain)
- Signed and dated on underside of top: “C.T. Beitel, 6/94, Easton” (i.e. Easton, PA)
- X-braced top
- All original finish; no touch-ups etc
- Pearl inlay around sound hole
- Herringbone purfling around top
- Real Ivory binding, top, and back
- Bound Ivory neck
- Ebony bridge
- Ebony fretboard (bound in Ivory)
- Original Maple bridge plate
- Size: a just bit bigger at lower bout than a Martin “2” size: 12 1/4 inches
- Scale length: 24 3/4 inches
- Body length: 18 3/8 inches
- String spacing at bridge: 2 3/8 inches - Nut width: 1 7/8 inches
- Body depth at bottom of guitar: 4 inches
- Top: Adirondack Spruce
- Back and sides: solid Brazilian Rosewood
- Neck: Cedar
- Headstock: Brazilian Rosewood veneer
- Tuners: original, German-made Jerome tuners, with fancy flower engraving, and oval shaped Ivory tuner buttons. These tuners are typically found only on the highest model Martin guitars of those years
- Tuner buttons: Ivory, oval-shaped
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(No serial number or FON, these years often do not have one.) This completely crack-free, Script logo LG-2 is a jewel. A lot of players say the script logo Gibsons from right after the war are better sounding and better-built guitars than the Banner Gibsons. All of the good things about Banners, but with better craftsmanship. All original finish, everywhere. Mahogany back and sides. Spruce top. Not a crack anywhere. 1-3/4" nut. The bridge is an excellent quality rosewood replacement. Original maple plate. Original tuners. Replaced nut and saddle. Rosewood fingerboard shows moderate wear on first couple of frets. Some of that wonderful Gibson 40’s crazing to the finish, but not at all out of hand. Various pick marks, and dings. Original tuners, bridge, plate. Piezo pickup was skillfully de-installed, and endpin jack removed and plugged. One of the finest Script logo LG-2s you’ll find. -
This is a superb sounding 5 string banjo. Original nickel plating. • Bacon & Day Super, 5-string Banjo (Style A) Serial number: 25892 (early 1928) • Resonator, stamped on inside (in nickel-laminated maple): Bacon Banjo Co., Inc. Groton, CT. U.S.A. Dec. 20th, 1927 • Conversion, 5 string neck (original neck was probably a tenor or plectrum); Presumably, this neck is newer than the banjo– yet the advanced MOP fret markers are as found on the earliest versions of B&D Super banjos. We assume this neck was built by one of the best U.S. “conversion” builders – with a re-use of the original MOP inlay at the peghead plus the dowel stick. Maple neck, with steel reinforcing rod. Fretboard is beautiful jet-black ebony; multi-layer neck bindings. Fretboard is a very comfortable 1 3/8 inches wide at the nut, 1 7/8 wide where fretboard meets body. • Nickel plated • 22 frets • Scale length: 27 inches • Extended Maple resonator– nickel laminated on inside • Original flat Tulip-hole flange (not the “add-on” round-hole resonator of earlier years). • Original, top of the line Type III Silver Bell tone ring (No Hole tone ring) original to the instrument (this is the most sought-after, advanced Silver Bell tone ring, introduced early 1927). • Original 2 band Grover geared tuning pegs • Fults tailpiece, and included a variety of Fults tone pins. Bob Fults made the best tailpieces available. And his tone pins let you tweak the tone of your banjo. There are several interchangeable Fults pins included here– ivory, ebony, lead, sterling silver, brass, and copper. Plus a “tone lock”. (Bob Fults recently retired, and these highly sought after Fults tailpieces and pins are no longer available.) In its original hard shell Lifton case. $3750. -
This is another great mid-fifties dread in unbelievable condition. It’s totally crack-free (also, not even a “pick guard” crack). Was acquired in 100% original condition: bridge, saddle, bridge pins, tuners, everything. Just had a neck set– resulting in great action, and tone/projection. With new condition Martin hard shell case. -
Out of stock
If there is a mid-60’s Brazilian Rosewood D-35 in better original condition out there than this one– it would have to be new. About as close to mint as you can get, this guitar shows little wear. And the Brazilian on back and sides– wonderful specimens, not the “figured” stuff you see on many later 60’s Martins. Not a crack, or hint of crack, anywhere (no, not even the typical “pickguard” crack). Original bridge, tuners, etc. Original frets show almost no wear. All original finish everywhere–and note that the finish does not have any of that “crazing” you often see on the original finishes of mid-60’s Martins. It has never had strap lugs attached. It has the more desirable original tortoise pickguard (Martin changed to black pickguards, later in 1967). Original small maple bridge plate, in original condition. The tone of this guitar, is wonderful. Ringing trebles like the very best brazilian Martin dread’s. And a bass response that shows why Martin brought out this model, in 1965, as an even higher-end model (and with lighter bracing) than the D-28. There are few tiny dings near the edge of the lower bout, on top (too small to photograph well). But a D-35 in better condition than this one would have to be off the factory floor. Action is perfect. Neck straight. Ready to play. -
The blackface Vibroverb may be the most sought after Fender amp of all time. Stevie Ray Vaughan is famous for using them. The Vibroverb started as a 2x10 combo with reverb in '63. Then in late '63, Fender decided to switch to a 1x15. This amp has incredible tone. One must hear a black face circuit through an open cabinet JBL 15" speaker to understand the sound. It sounds big and can fill the hall, but it can work as a mid size amp perfect for gigs. This amp is versatile, since the JBL D130 can carry the treble of a telecaster or strat while still having a strong bottom end. Most other amps are either good on highs (Vibrolux, Princeton, Champ), good on lows (Twin, Showman), midrangy (Deluxe, and most new amps) or too big (Marshall double stack). The great Vibroverb is superior to them all. This 1964 Blackface Vibroverb has the original JBL speaker, and the original transformer. The amp also comes with its original footswitch. The only thing done to the amp has been replaced tubes, and the caps. The power cord has been replaced with a grounded three-prong cord. -
This Banjo has a unique tone, that only comes from a Gretsch Die-cast metal shell/flange construction, prewar banjo. But it’s rare to see these banjos in anything other than tenor. This one is a rare, original 5 string configuration, and has a nice “Gretsch growl” (a term that some drummers use to describe Gretsch drums). Wonderful, dark tone, with bell-like high notes. And with a bit of sustain that is reminiscent of a prewar Dobro guitar. Growl, plus sustain, and ringing highs – only from a Gretsch prewar banjo. Pearloid heastock overlay. 11 inch head. 26 inch scale length. 22-fret Brazilian rosewood fingerboard, with dot markers. Walnut neck, and resonator. Top tension head adjustment with 20 lugs. Original calf skin head. Price: $750. -
Considered by many to be most charming, intimate, 19th century Martin parlor guitar, the Martin 3-17 features Brazilian Rosewood back and sides, Adirondack spruce top, and Jerome tuners. This particular instrument, with an unbelievably beautiful, lyrical voice, was made in the early 1850’s, as we can tell by several clues. It’s a lot like Mark Twain’s famous Martin 2 ½-17 (see photo). Of course, it has to have the “CF Martin New York” not “CF Martin & Co” stamps– as this one does, to make it a pre-1867 Martin. Also, according to Martin scholars, Jerome tuners seem to have faded out by the late 1850s, to be replaced with similar tuners with a shorter plate and no name stamp. It is unusual on this guitar that the Jerome tuners are German silver, as most of the style 17 guitars have brass tuners. With the “tulip-shaped” tuner buttons, experts date the guitar to the early 1850s. The top is fan braced. Measurements are: body length 17.25″, lower bout width 11.125″, upper bout width 8.25″, overall length 35.75″, scale length just shy of 24 inches. 12 fret cedar neck with ice cream cone heel. Note that the black paint on the back of the neck and back of headstock was removed in some previous century– that does give a nice look at the cedar that would normally be obscured by the black “ebonized” paint. The body of the guitar had some overspray, but it turned out go be one of those fortunate occasions where it was light and really just sitting on top of the original finish, so we are able to easily remove it and reveal the original finish. A couple of small hairline cracks in back, repaired. Top and sides are crack-free. Reproduction ebony bridge. Original bar frets. Original Jerome Silver tuners, with original buttons. Original bracing and bridge plate. “C.F. MARTIN / NEW YORK” hot stamped on back, inside back brace and heel block (but the back stamp is faded). A previous owner of this guitar had a custom hard shell case made– it’s a professional quality, premium case that protects the guitar quite well– it’s heavy and sturdier than most new expensive hard shell cases. Historical interest aside (pre-civil war Martin guitars are rare), this guitar plays wonderfully. It projects the sweetest, but robust, glassy trebles, and clear mids and bass notes. It’s just a joy to play, and it just floats in your hands. (Note: 19th century Martins can be fitted with: gut strings, classical guitar strings, or extra light steel strings– depending on the guitar. It’s really a case-by-case basis, determining whether a particular 19th century Martin can “hold” or “withstand” very light gauge steel strings for example. One size does not fit all. And different 19th century Martins sound better with different strings. In this case, with this particular guitar, extra light steel strings are perfect. It can hold them fine– due to the structure of the top, the bridge plate, and bridge. And it plays and sounds perfect with those strings. This guitar is real find in that regard– not for the collector’s wall but for the player who wants to experience what the original CF Martin felt when he held this instrument in his hands in Nazareth, Pennsylvania, when Abraham Lincoln had not the slightest inkling he’d be in the White House and was just forging a reputation as an outstanding lawyer and earning the nickname of ‘Honest Abe’, and the New York Times was just commencing operations, and the first oil well had just been drilled in the United States by “Colonel” Edwin Drake in Titusville, Pennsylvania– that despite being in C.F. Martin’s state was darn near the old west at the time. In a custom made, professional quality hard shell case. -
Circa 1860 parlor guitar style 1 built by well known luthier, James Ashborn of Wolcottville, CT, for William hall & son music store. Brazilian rosewood back and sides; Adirondack top; maple binding. This guitar is crack free save for a couple of minor finish cracks on back, and is 100% original, including all original finish, and down to original nut, original bridge (and saddle) that has never been off the guitar, and original bridge pins. From a just-published article in Vintage Guitar magazine: “Ashborn's design for the guitar was quite innovative for the early 19th century. Instead of making guitars fashioned after the typical parlor-style guitars, he made them in the Spanish style, by taking interior bracing cues from the Spanish while retaining the body of the English guitars. This included a fan brace pattern rather than the more common ladder pattern Ashborn guitars have a very complex dovetail V joint for attaching the head to the neck. The headstock was cut in roughly five steps, using some kind of tracing router, as suggested by the chatter marks on the inside ears of the pegbox. In addition to the complex head design, Ashborn made his own tuning machines in-house. They're made of brass, very much like contemporary machines, with worm gears, cog gears, and rollers. … Ashborn's shop was extremely advanced for its time, having a great deal of know-how and technology. Ashborn understood the need to have the technology as well as the skill, but more importantly he discovered a new way of making high-quality instruments that were affordable. He was able to create a factory environment where workers did what they were good at and, with practice, became very fast and consistent. With a new level of consistency in mass production, he created the path followed by other companies such as Martin, Gibson, and Taylor. Using designs ahead of his time, he was able to bring the sound and change to people who otherwise never would have been able to acquire an instrument of this quality.” This beautiful all-original and crack-free Ashborn guitar is one of the best-preserved examples in existence. -
Another wonderful instrument with top grade Brazilian Rosewood back and sides. The Brazilian rosewood on this in instrument is more figured on the sides, and the back shows wonderful bookmatched figuring. This is an all-original guitar. There are no cracks that go through the wood. There are several finish/superficial cracks in the finish, one on the top near the bottom/endpin area, and one on the back. And a bit of crazing in the top finish. Set-up and playability is great. Wonderful full tonal range up and down the fretboard.