Shop

This ’63 000-18 has wonderful tone. It compares favorably to any post-war 000-18 we’ve played.

• All original finish, everywhere
• The guitar is crack-free. Not even a pickguard crack.
• Original Brazilian Rosewood bridge, full height. It has never been off
• original saddle as well
• Original tuners (Grover)
• Original Ivory nut
• Original bridge plate… in perfect condition… in fact, there is not even the enlarged holes you so commonly see from the ball ends of strings working through… it’s a great original small Maple bridge plate…
• Original endpin
• There is some pick wear, and some typical crazing that 60’s Martins all have
• Frets are in good shape. The first several positions show some wear… but not a lot… it does not need new frets.

This big 12-fret Brazilian Rosewood pre-war Martin is properly set up for steel strings, with new replacement ebony pyramid bridge meticulously made to original specs, but compensated for steel string, perfect intonation. All braces original and in great shape. Original bridge plate. All original finish everywhere. This guitar has all the tone you'd expect from a pre-war 00 Brazilian Martin. It's had restoration work, all by us, recently, as follows. Hide glue used in all repairs/restoration.

• Several cracks in sides, back, and top professionally repaired (5 or 6 cracks overall)
• Small hole drilled in top of headstock many decades ago (to hang the guitar on a wall presumably) has been expertly filled and finished with a piece of Brazilian rosewood veneer, on front, to match the veneer of the headstock.
• Neck set.
• New replacement ebony pyramid bridge meticulously made to original specs, but compensated to steel string intonation. Scratch marks in spruce top, on either side of bridge, filled and finished.
• All new, replacement Bar Frets
• To the thin maple, original bridge plate, we carefully added tiny maple ring/plugs, with hide glue, into the holes, to address bridge pins holes slightly enlarged over the years.
• Older repaired small crack in heel expertly touched up. It's 100% stable. (It appears to be a surface/finish crack.) It's very hard to see even up close, and impossible to photograph.

With this meticulous restoration, the guitar is now a wonderful player, and with all original finish.

An all-original Martin from the finest era in the company’s history, this 0-18 is unsurpassed for Martin 12-fret Adirondack spruce over Mahogany tone. What can you add about a 1930 Martin, that is 100% original, down to the original bridge pins, and original ivory saddle This example is from the time when Martin had just started using belly bridges, and the ebony belly bridge on this guitar still has its original ivory saddle. And this guitar is 100% crack-free. Period. The instrument features the original bridge (full height), original tuners, original ivory saddle, original nut, and original maple bridge plate (the bridge plate shows almost no wear from ball ends–almost unheard of in a prewar Martin). All original finish– everywhere. Some honest playwear and various minor nicks and dings give the wonderfully aged and naturally honey-hued Adirondack top character. The top shows perfect form, with no bellying behind the bridge, etc. One of the things that makes Martin’s from these year so great-sounding: Martin was still using a thin ebony rod inside the neck, not a metal bar. So the instrument is more free to resonate, from tuners, right down to the bridge. And resonate this one does, with a strong bass especially that puts many many large size guitars to shame. 1-7/8 inch nut. The neck has just been set, by us, retaining the original Bar frets

1963 and 1964 were the best years for the legendary early 60's Gibson SG. And 63-64 saw the transition from the Les Paul model to the "Solid Guitar" or SG. Only in 63 and 64 did Gibson use a particularly wide neck on the SG, and that's why players love SG's from these two seminal years. This '64 SG is something of a transition model from the last of the double cutaway Les Paul/SG's to the SG Standard-it carries the Les Paul truss rod cover (original to the guitar), and it features the great lyre vibrola (nickel). This 1964 SG, with all original finish, and original parts (including Patent # humbuckers), is a wonderful instrument with the right amount of honest wear to make it fit like a glove, and play like a dream in your left hand with that wonderful ample neck.

This stunningly beautiful, one-of-a-kind custom built resonator (from 2006, in beautiful crack-free condition and with only light wear) is from Tony Nobles, well-known luthier, and maker of instruments for Joe Walsh, Billy Gibbons and many other artists. The art deco ornamentation compliments an incredibly well built instrument, with meticulous attention to detail. Listen to/watch the video clip where guitar master Redd Volkaert put this instrument through some interesting jazz and blues paces.

• Spun-aluminum Quartermane biscuit-style cone (single-cone resonator)
• Solid curly maple, back top, and sides, with light tobaccoburst nitrocellulose lacquer finish
• Art deco coverplate, soundholes, and tailpiece of antiqued brass with a metal mesh covering
• Maple binding on body
• Custom torch inlay on headstock
• Curly maple neck
• Waverly tuners
• Scale: 24.4 inches
• Nut width: 1 7/8 inch
• String spacing at nut: 1 18/32
• Bridge spacing: 2 1/8
• Lower Bout: 14 1/2
• Upper bout: 9 1/2
• Body depth at bottom: 3 ¾ inches
• Body depth at neck joint: 3-20/32

A wonderful, completely crack-free LG-2. The neck was recently set by Mark Erlewine, the frets dressed, and a new saddle installed ... beautifully set up by ME. 1-11/16 inch nut. Mahogany back and sides. Spruce top. Low action, with no buzzing. Nice sustain, and volume.