Mahogany guitar with Sitka Spruce top. Adirondack Red Spruce bracing. 1 23/32" at nut. Ebony fingerboard and bridge. Waverly open-back tuners. This guitar is on order for our store stock and is available to "book" now for your own.

     Mahogany Dreadnaut with Sitka Spruce top. 1 23/32" width of fingerboard at nut. Ebony fingerboard and bridge. Waverly open-back tuners.

     This guitar is expected in stock in early August, 2010. We get these in pretty regularly, but they steadily sell quickly, so it seems we are always waiting for "the next one"...

     You can always call us and book it for your own.

     Select Mahogany back, sides and neck. Adirondack red spruce top. Adirondack Spruce bracing. Vintage style Waverly open back tuners. Bone nut and saddle. Ivoroid bridge pins and end pin.  1 23/32" width at nut. Ebony fingerboard and bridge.
     This is a very good guitar, with fast crisp attack and great voice.

     High grade Brazilian Rosewood back and sides. Mahogany neck and Adirondack Red Spruce top. Adirondack top braces. Ebony fingerboard and bridge. 1 23/32" width at nut. Gold Waverly open-back tuners. Multiple ivoroid bindings around body, neck and peghead. Abalone soundhole rosette.

     These guitars are known for delivering good "growl" when you dig into it, and for beautifully sweet and clear notes when you are solo'ing.

     This guitar arrived from Bourgeois with excellent set-up, its looks beautiful and it sounds great.

Rosewood Dreadnought with Adirondack Red Spruce Top. Herringbone body binding. 1 23/32" Nut Width. Traditional "diamond" on back of peghead underneath nut, pearl cut diamond inlays in ebony fingerboard. Very good sound, with crisp enunciation and strong projection.

 

     Exc (+) condition. This is a very clean original guitar.

     Indian Rosewood back and sides. Adirondack Red Spruce top with antique'd finish. Adirondack Red Spruce braces. Mahogany neck, Ebony fingerboard and bridge. Ebony binding along fingerboard. Gold Waverly tuners. Ivoroid bridge pins and endpin. Herringbone top purfling with multiple ivoroid outer bindings on top and back of body. Traditional "zipper" back strip. Elaborate custom inlays in fingerboard. Bone saddle and nut. Gold strap button correctly installed in heel.

     This is a very nice sounding guitar that also looks great! Beautiful woods, with even a little 'bearclaw' figure in the Red Spruce top. The fingerboard inlays really work well to make it very distinct and attractive.

     When you add in the custom appointments, a guitar like this ordered new would cost over $4,000. Well... what can we say? Here is a great one with almost no sign of prior ownership for lots less...

     Exceptional original condition. 12-string acous/electric. Mahogany back, sides and neck with Spruce top. Plays fine and sounds great with no problems.

     New. Mahogany Dreadnaut with Sitka Spruce top and Adirondack Red Spruce bracing under the top. No tongue brace. 1 3/4" width at nut. 2 1/4" pin spacing in bridge. "Vintage Now" neck option, which means the neck isn't the huge "Vintage" neck, but a slightly slimmer version like Martin did around 1938 and 1939. This neck is more full feeling, but not the huge 'baseball bat' neck profile. The fingerboard flares slightly wider as you approach the body.

     The Adirondack Spruce braces are employed to add a certain amount of stiffness to the Sitka top for more tonal definition and punch as the top opens-up over time.

     Guitar has just arrived from Collings - please give us a little time for photos and sound samples.

     New. Mahogany Dreadnaut with Sitka Spruce top and Adirondack Red Spruce bracing under the top. No tongue brace. 1 3/4" width at nut. 2 1/4" pin spacing in bridge. "Vintage Now" neck option, which means the neck isn't the huge "Vintage" neck, but a slightly slimmer version like Martin did around 1938 and 1939. This neck is more full feeling, but not the huge 'baseball bat' neck profile. The fingerboard flares slightly wider as you approach the body.  

     Exc(+) condition. A few lines of finish checking on top. Only has slight signs of prior handling and playing. It was bought new and mostly kept in the case.

     Beautiful flamed Maple back and sides that are accented by honey amber finish color. Mahogany neck. Bearclaw figured Sitka Spruce top. Ebony fingerboard, bridge and peghead overlay. Nickel Grover pre-war style open-back tuners. Bridge has "thru" saddle. Ebony bridge pins and end pin. Multiple bindings on top and back of body. Cream heelcap. Diamond volute behind nut. MOP dot inlays in fingerboard.
     This guitar is in great shape and is set up to play. It sounds quite good.

     Exceptional original condition. Owned and enjoyed but never mistreated - "Clean as a Whistle".

     Choice Mahogany back, sides and neck with Adirondack Red Spruce top. Beautiful early '40's style sunburst. 5-ply top bindings with 3-ply back bindings. Bindings are antique'd. The finish is very light and finely applied to give an older feel to the guitar. This instrument was constructed faithfully to the early J-45's, using old style glues and bracing patterns, etc. In other words, hide glue was used wherever it was used in about 1940-1943. Neck width at nut is 1 3/4", with big full profile. Pin spacing at bridge is ~2 3/16". Tuners are 3-on-a-plate pre-war style openback, with beautiful small antique cream buttons. Rosewood fingerboard and straight bridge. 'Cut-thru' bone saddle. Ebony bridge pins and endpin. Traditional firestripe pickguard.
     This is a very nice guitar. If you like J-45's and are a fan of the big full necks, then here is the guitar for you. Great sound along with great workmanship. This is Gibson's counterpart to the Martin D-18 Authentic, and it holds up well in comparison.

     The sound is very, very good. It is clearly better than most newer J-45's and is truly reminiscent of the old original Banner J-45's. Big sound!

    

     Exc(-) condition.  1 11/16" width of fingerboard at nut. This is a great 'working' J-50 that has spent quite a few years in our area being played by accomplished musicians. Cosmetically, there is only one thing you have to get used to - pickup control knobs were previously mounted into the Spruce top below the pickguard and a jack hole was cut into the side. The two top holes were professionally filled about 15 - 20 years ago, and the guitar is currently in the lutherie shop to have the side jack hole repaired.

     As far as sound goes, this one is a 'good one'. Some J-50's tend to favor the treble. This guitar is warm and well-balanced. It is suited for playing quite a few styles of music.

     A really good professional pickup by Michael Heiden is mounted on the bridge plate. It works great and sounds like one of the best pickups you'll hear anywhere - lots of output and very natural sound.

     Currently in shop for repairing jack hole and touching up frets.

     Exceptional original condition. 14-fret neck joint. NO cracks, no repairs! Beautiful sunburst. All original. Original finish still vibrant, but has normal finish checking. Tuners work well. Original Ebony nut and Rosewood bridge. Frets are in fine playing condition, showing only a little wear.
     Mahogany back, sides and neck, with Spruce top. Straight bridge with cut-thru saddle. Original firestripe pickguard.

     This guitar is as clean inside as it is outside. Someone did write 2 letters onto the inside spruce backing strip with a pen, but other than that the inside is so clean it looks like a 5-year old guitar.

     This is a wonderful guitar. It is light as a feather and sounds great with lots of immediate resonance.

     Exceptional condition. Sunburst. 14-fret neck joint. It is rare to find these old original guitars that are in such nice original condition. Mahogany back, sides and neck, with Spruce top. Original Rosewood fingerboard and bridge. Original tuners. Original finish. One repaired pickguard crack that is unseen from the top.

     This guitar has good set-up, with nice low action and full tone. Its great for fingerstyle playing, but also for playing with a pick. It has that old dry wood sound that so many players love.

     Good(+) condition. *Excellent "player's" guitar. 12-fret neck joint. 1 3/4" width of fingerboard at nut. 24 3/4" scale length. Appears to be Adirondack Red Spruce top. Mahogany back, sides and neck. Brazilian Rosewood fingerboard and bridge. Original bridge and tuners. D-string tuner post is bent, but works fine. Black body with white pickguard. Dot inlays in fingerboard. Gibson silkscreen script logo.
     Four repaired top cracks, three repaired back cracks. Two repaired side cracks. Ridge down center of back of neck shows wear from leaning against rough surface. Two small holes in top below pickguard from former volume and tone knob installation. Jack hole in bottom side.

     Guitar currently has endpin jack professionally installed with cable inside with 1/8" jack for soundhole pickups to plug into.

    Recently set-up professionally with very clean neck reset, new bone saddle, milled fingerboard and recent full fret job.

     This guitar is a serious machine for playing. It's all set-up and ready to go and it sounds great. Quick response and good balance. The wear along center of back of neck doesn't seem to affect playability at all.

     Excellent condition. Sunburst. Comes with factory installed active pickup. Minor evidence of player wear - mostly just light surface scratches, with one ding on top. Some normal fret wear, but no big "v" dents in frets. Overall it is in nice shape.

     1 11/16" width at nut. 25 1/2" scale length. Body is deeper than standard L-00. Upper bout is 4 3/8" depth and lower bout is 4 3/4" depth. Newer bone saddle and nut.

     This guitar is set with light strings and low action. It plays real easy.

     Extremely Early Gibson Flattop Guitar - Earliest we've seen...

     Excellent condition. This is one for the museums! Earliest example of a flat top, flat back guitar we've ever seen from Gibson. Example of the earliest "A-frame" bracing that Gibson employed until around 1926/27.

     24 1/4" Scale Length. Shellac finish. BIRCH back and sides, with Red Spruce top. Pumpkin color. 1 13/16" width of fingerboard at nut. Dyed Pearwood fingerboard and peghead overlay. The Gibson silkscreen silver logo. Original Ebony nut. Original small frets. Tuners appear to be original 3 on a plate, with original buttons in good shape. Bridge is Ebony and appears to be original. Who knows - this guitar is early enough that it may be that Gibson just bought a bridge for this early guitar because they hadn't designed a flat top bridge before this time.

     Back and sides may have been refinished at some point... but looks to be also a Shellac finish. Top seems to be original finish with typical "leather dye" sienna color under the shellac finish.

     *We are publishing this guitar to our website at this time to establish awareness of it. The historical record of the early days of Gibson evolving their L-1 from an arched top and back, to a flat top with arched back, to these first flat top AND back A-frame braced examples is rather murky and incomplete. Hopefully this guitar will stand as a useful piece to this ongoing puzzle... Hence, it is not for sale at this time.

Fine condition. Typical Gibson crackle finish. Parallelograms fret markers. Very rare wartime model. Has truss rod in neck. Includes custom Lindy Frailin floating pickup mounted on the pickguard.

     VG+ condition. All Mahogany. 1 3/4" width at nut. Big full neck profile. This guitar has had some various work performed on it, but is in very good shape for playing and has real good sound.

     Repaired grain crack in neck heel. Several back cracks repaired. Side repair "football" patch - probably where a jack had been installed. Center-seam in top has been re-glued from bridge down to binding. Another long top crack on bass side of top was repaired. Original bridge has been radically thinned. Top shows history of "bellying" around and below bridge, but has been stabilized with extra brace under the top. Mahogany bridgeplate. Tuners replaced. Neck reset. Overspray finish on sides and back. Some marring of finish around fingerboard extension from heating fingerboard.

     Ok, I know this sounds like a shopping list of things that have been done on this guitar... But all-in-all, its pretty nice to look at and very nice to play.

     The belly in the top seems to be quite stable and the finish on the top is pretty nice. It plays fine and sounds great, with lots of character and expression.

     Exc(-) condition. One small triangular patch in Mahogany back, in lower bout, against binding. Frets appear to be original and have been milled once. There are some "V" dents in the frets in first position. Guitar has some normal lacquer checking, and has some random dings here and there. Schaller tuners were on the guitar for a period of time, but now it has vintage re-issue 3-on-a-plate Kluson copy tuners professionally installed.

     Solid Mahogany back, sides and neck with blonde Spruce top. Rosewood fingerboard with dot inlays. Original Rosewood bridge and tortoise pickguard. 1 11/16" width at nut.

     Exceptional original condition. Rare handmade short scale prototype. Highly figured Maple with Adirondack Red Spruce top. Short scale - 24 3/4". Width at nut 1 23/32". Vintage rounded "V" neck profile.

     Highly figured Maple back and sides. Mahogany neck. Brazilian Rosewood fingerboard and bridge. Waverly pre-war style open-back tuners. Firestriped pickguard. Bone saddle and nut. Beautiful vivid traditional sunburst.

     In about 1992, Gibson announced that it would re-issue the famous Nick Lucas guitar model. These were designed around an L-00, but with deeper upper and lower bouts, multiple bindings and unique inlays in headstock and fingerboard. Eldon Whitford, Dave Vinopal and Dan Erlewine were at this time working on the "Gibson's Fabulous Flattop Guitars" book that showcased not only the original vintage Gibson models, but also dedicated lots of information about the new factory in Montana and their re-issuing of these classics as well as spotlighting their handmade custom shop. These 3 men were very excited to get early examples of these Nick Lucas guitars, but had heard that the factory intended to build them as long scale versions. They booked several of the first guitars to be handbuilt by John Walker - Gibson Master Luthier and head of the Custom Shop, and to be made with 24 3/4" short scale, like the original Nick Lucas guitars.

     So... while the Gibson factory was manufacturing their run of long scale Nick Lucas guitars, there were several examples handmade by John Walker in the newly-formed Custom Shop. Some of these were made to the even earlier L-1 shaped Nick Lucas, while most were made to the L-00 shape. Only about 4 were handmade with short scale. This guitar is numbered #004/100.

     This is a great guitar with nice full, open sound. The set-up is great. It is clearly heads above the factory Nick Lucas models.

    

     VG+ condition. Sunburst. No Repairs. Guitar shows lots of lacquer checking and has some lacquer chipped off of binding along fingerboard.

     14-fret neck joint. 25 1/2" scale length. Figured Maple back and sides. Mahogany neck Rosewood fingerboard and bridge. Gibson logo and Fleur d' Lis inlaid in MOP in peghead. "Nick Lucas" inlay pattern in fingerboard.
     This very guitar is really and truly "Prototype A", as it is the first Gibson Nick Lucas guitar built since about 1939. John Walker, who was head of Gibson Custom shop built this guitar entirely by hand. John handbuilt the first NINE re-issued Nick Lucas guitars from Gibson in 1992. Almost all of them were varying versions of the Nick Lucas, with some having Rosewood or Mahogany backs and sides, some having 12-fret neck joints,some with short scale, and some built with the earlier "L-1" body size. * Gibson collectors take note of the above information. This may be the only place you'll ever see this specific information.
     This guitar was awarded to a noted musician in Montana for his work in encouraging Gibson to re-issue the Nick Lucas model. It was used at festivals, jams, and other performances. This very guitar is seen and recorded in the picnic scene in "A River Runs Through It".
     This is quite a rare piece, and would be priced around $5,000+, except that it has heavy finish checking.

     New Dreadnaut from John Walker. Very nice quarter-sawn Brazilian Rosewood showing "maiden hair" ripple patterns. Adirondack Red Spruce top. Red Spruce bracing with hide glue construction. Hard Maple bridge plate. 25 1/2" long scale length.

     White Holly wood bindings on top, back, and tucked under fingerboard edges. 1 3/4" width at nut. Vintage neck profile - its not giant, but just a little fuller feel.

     Brazilian Rosewood fingerboard and bridge, Ebony peghead overlay. Bone nut, saddle, bridge pins and end pin. Nickel Waverly tuners.

     This guitar sounds very good. It has a wide-open feel and is very responsive. And... it is priced at a bargain, in order to stimulate the economy of the Alberton, MT area.

     Exc(-) condition. Some player wear on top - thumbpick marks on bass side of soundhole, some pick and fingernail marks on treble side below pickguard. There are some minor touch-marks and dings, but it is very nice overall.

     Long scale guitar. Where most people think of slope-shouldered guitars with 'short-scale' length in mind, there were actually quite a few times when Gibson built long scale models, like the famous "Advanced Jumbo" guitars of the 1930's. Gibson Custom Shop under the direction of John Walker also handbuilt quite a few long scale "AJ 35's"... meaning it was a Mahogany Advanced Jumbo, or a long scale J-35. At any rate, this particular guitar makes good use of the long scale.

     Mahogany back, sides and neck. Select Sitka Spruce top. Sunburst finish. Nickel pre-war style open-back tuners. Antiqued ivoroid bindings on top, back, fingerboard and peghead. Brazilian Rosewood fingerboard, bridge and peghead overlay. Kopp logo in peghead is antique gold decal that looks just like the old c1940 Gibson silkscreen logos. Small dot inlays of MOP in fingerboard. Old style fire-stripe pickguard.

     Ok... here it is... this guitar is a HONKER! It is "wide-open" and big, with everything about the tone in the "plus" column. Set-up is good and it has no problems.

     * If you wait too long on this one I am liable to keep it for my own...

    

     Newest creation from Kevin Kopp. Built as a prototype 12-fret version of his popular K-35 guitars, this guitar captures the essence of the old "Roy Smeck" models of the 1930's. Mahogany back, sides and neck. Adirondack Red Spruce top. Sunburst finish on top.

     1 3/4" width at nut. 24 3/4" scale length. 12-fret neck joint. At the time of this writing Kevin Kopp is on vacation, so I can't answer specific questions about bracing and tone bars. Built using hide glue.

     Ebony peghead overlay with white decal that looks like the old silk-screened logos of the 1930's. Honduran Rosewood fingerboard and bridge. Dot inlays in fingerboard. Top and back of body are bound with ivoroid. Pre-war style Waverly open-back tuners with ivoroid buttons. Bone saddle and nut and bridge pins. Traditional fire-striped pickguard.

     This is a very fine sounding guitar... and it is a prototype, with label reading "Model - Prototype".

     Another great guitar design from Kevin Kopp.  Similar to a J-185 body design, with Mahogany back, sides and neck and select Spruce top.  Rounded cutaway, with 12-fret neck joint. 24 3/4" scale length.  1 3/4" width of fingerboard at nut.

     The 12-fret neck joint causes the bridge to be moved about 1 5/16" farther away from soundhole. This enables the bridge and bridge plate to act differently with the braces and the top, causing a very pleasing pronounced attack and a good timbre to the tone.

     Very good balanced sound, with strong bass to complement the treble.  Easy to play from the 1st position to the last fret.

Sound Clip 1, Sound Clip 2, Sound Clip 3.

     Sunburst Super Jumbo cutaway. Mahogany back, sides and neck. Lutz Spruce top.

     * 'Lutz' Spruce is a hybrid species that comes from crossing Sitka Spruce, White Spruce and sometimes Englemann Spruce. These hybrids show wonderful stiffness that many builders say rival Red Spruce, but with maybe a little different character to the tone. We have had several guitars with Lutz Spruce tops by Kevin Kopp and they all were great. They all had fast abrupt attack, like Red Spruce, but also more 'growl' right away, like German Spruce or Englemann.

     Back to the guitar... This is just a wonderful sounding instrument. I don't know if I can remember ever having a Gibson J-200 that sounded as balanced, or had as great of a bounce to the bass. 

    

     Excellent condition.Some evidence of previous owner's playing: Hardly any sign of fret wear, but does have some impressions in top finish from stray pick marks and has random "button tracks" on back, although not very severe. Strap button installed 3/4" inch away from heel on bass shoulder of guitar, into headblock. End pin hole enlarged professionally for end pin pickup jack.

     Highly figured Koa back and sides. Mahogany neck. Adirondack Red Spruce top. 12-fret neck joint. Slotted headstock with traditional diamond volute. 1 3/4" width at nut. Ebony fingerboard with abalone dot inlays. Ebony pyramid bridge with "cut through" saddle. Herringbone top purfling. Ivoroid binding on top and back of body. Herringbone back strip. Highly figured Koa peghead overlay with elaborate abalone floral inlay. Pre-war style open-back tuners. 25.4" scale length.

     This guitar is set-up well with nice low action. The neck is straight and frets are in fine condition. It sounds really good, with good balance and resonance.

    

     Exc(-) condition. Some wear in fingerboard and frets in first position. One very minor 'outer' pickguard crack excellently repaired. Newer black pickguard (original pickguard in case). No other cracks, or repairs, or problems.

     This is a very good sounding D-18. The sound is enunciated, aith a good attack and full sound.

     This guitar has just had a professional neck reset and new saddle, so the set-up is very good.

     Exc condition. One side crack on bass side at upper shoulder area. Very slight "E-string" pickguard crack professionally repaired. Lacquer shows "pucker" along lower center seam, but center seam is tight. Honest player wear on the guitar. Original lacquer in good shape, but has some areas on side where moisture affected the lacquer. Everything appears to be original.

     Quarter-sawn Brazilian rosewood back, sides, fingerboard, bridge and peghead overlay.  Sitka spruce top. Original Kluson DeLuxe tuners. Original pickguard and bridge.

     This is a really great sounding D-21... wonderful tone and balance, and with a thunderous attack. It really comes across with sound like an early '40's Martin. Please call for full in hand description. 

     Near Mint condition. NO wear, NO dings, no sign of prior ownership. Limited numbers were made between about 2003 and 2007.

     Very nice highly figured Koa back and sides. Select Sitka Spruce top. Choice Mahogany neck. Brazilian Rosewood peghead overlay. Ebony fingerboard and bridge. Bone nut and saddle.

     The appointments of this D-45 seem to be especially beautiful set against the Honey-Brown flamed Koa. Abalone purflings on top edge, soundhole rosette, along sides (top and back), back, endpin wedge, both sides of heel and along fingerboard extension.

     Outside of the abalone purflings, the guitar has grained ivoroid outer bindings throughout entire guitar. Abalone hexagon inlays in fingerboard. Old style "CF Martin" abalone logo inlaid in peghead.

     Now... I think you get the idea by now that this guitar is very beautiful AND in really great original condition. BUT - the best part of all is that this guitar is an especially great sounding guitar, with lots of punch, nice growling attack, balance, etc. This guitar would work great for a Bluegrass flatpicker, a singer/songwriter, a country band front-man, etc.

     In short, this is a wonderful D-45.

This is a fine example of Roy Noble's early work. Excellent tone, excellent materials, and great attention to detail. Very beautiful, expressive tone. Center seam reglued below bridge.

Price Reduced...

     Beautiful guitar! Coco Bolo back and sides, Adirondack Red Spruce top, and Amazon Mahogany neck. Outer bindings of flamed maple on top, back, along fingerboard and around headstock. Handmade wooden herringbone purflings around top edge and soundhole rosette. Ebony fingerboard and bridge. Cut diamond inlays in fingerboard. Waverly tuners. Bone saddle and nut. 1 3/4" nut width.

     Typical of Noble guitars this guitar arrived sounding great, but is already opening up fast. Beautiful sound, with power mixed with elegance, nuance and refinement not easily found in acoustic guitars.

     Coco Bolo sides and back with fabulously figured Western Red Cedar top. Roy built this Coco Bolo guitar without the usual wide triangular Maple wedge in back. Instead he used a narrower strip of Maple for the back strip.

     Ebony fingerboard and bridge. Ebony pins. Bone saddle and nut. Nickel Waverly pre-war style open back tuners with ivoroid buttons. Cut diamond inlays in fingerboard. Multiple wood body bindings with flamed Maple outer binding. Hand made wood herringbone purflings on top edge and around soundhole. Flamed Maple binding on fingerboard and headstock.

     Not only does this guitar have a great "look" to it, but it sounds huge... Brisk attack with huge presence and projection. A joy to play and to hear.

     Beautiful Coco Bolo back and sides with high grade Adirondack Red Spruce top. Mahogany neck. Gabon Ebony fingerboard and bridge. Bone saddle and nut. Waverly pre-war style open back tuners with ivoroid buttons. Cut diamond pearl inlays in fingerboard. Handmade herringbone top edge purfling inside flamed Maple outer body bindings. Fingerboard and headstock bound with Flamed Maple. Herringbone soundhole rosette.

     The Coco Bolo has especially nice figure and color...

     Very great sound. Quick response, big voice, and clarity and expression that are hard to find in most guitars but are expected in these handmade Roy Noble guitars.

     Roy Noble has been hand-building fine acoustic guitars since 1959. He is a one-man shop. He has no helpers, no apprentices and truly hand-builds guitars of his own design on his own handmade jigs - no CnC machinery.

     These guitars 'mic' especially well in live situations, record exceedingly well in the studio, and present beautiful tone whenever played... no fooling...

     Here it is... top of the line Concert guitar from Mr Roy Noble. Basically it is an "OM" guitar, but slightly different curves to the body than historic "OM's" have. High grade AAA Brazilian Rosewood back and sides show a lot of character and color, but still quartersawn. Select creamy Adirondack Red Spruce top with some "bearclaw" figure. Mahogany neck. Gabon Ebony fingerboard and bridge. Pearl "cut diamond" inlays in fingerboard. Ivory nut and saddle. Ebony pins. Gold Waverly open back tuners. 1 3/4" width at nut. 25.25" scale length.

     Hand-cut flamed Maple outer body bindings, with Roy Noble's handmade "spiral" wood purflings inside top edge and at soundhole roaette. Neck and peghead bound with ivoroid.

     Even as a "new" guitar, this one has a rich and lyrical sound with great balance and depth of tone. The "purity" of the sound is quite amazing... nothing quite replaces the sound of a handmade guitar by a luthier who has 50 years experience.

     

     "AAA" quartersawn Brazilian Rosewood and master grade Adirondack Red Spruce top. Flamed Maple outer body bindings, with handmade herringbone purflings around top edge and soundhole rosette. Ebony fingerboard and bridge. Fingerboard and headstock bound with Ivoroid. Waverly pre-war style open back tuners. Bone nut and saddle, Ebony bridge pins and endpin.

     1 47/64" width at nut. 25.25" scale length. This scale length, which is right between 'standard' long scale of 25.4" and 'standard' short scale of 24.9", makes a more relaxed feel when playing and makes light gauge strings feel 'correct', instead of feeling 'too light'...

     The sound is great - great attack, and lots of expressive, colorful tone that isn't muddy at all. Great tonal balance from end-to-end of the fingerboard and side-to-side of the fingerboard.

     This guitar has one slight repaired "dot" in the finish just under the low E-string, at the bridge front. This is a very small blemish that was repaired by Mr Noble while the guitar was being built. It is hard to spot unless you look for it.

     Exceptionally Fine condition. This guitar was very much appreciated by previous owner and shows no player wear or dings.

     Select Amazon Mahogany back, sides and neck. I think it is a German Spruce top, but not 100% positive. Ebony fingerboard with no inlays. Ebony bridge, bridge pins and end pin. Bone nut and saddle. 1 3/4 width at nut. Multiple wood bindings with Rosewood outer bindings on top and back. Nickel Gotoh tuners.

     This is a great guitar! Anytime you can find a 3 or 4 year old Noble to play you are treated to wonderful open sound - quick response, power, and smoothness. These Noble guitars are known for their carrying power... in other words they cleanly and clearly project sound quite a ways out from the player. This is a very high level studio or performance guitar.

     Exc condition. Except for some stray lines of finish checking on the top, this guitar would be 'Exc(+)' or even 'Exceptional' condition. Very little sign of playing on the frets, no dents or dings on body or neck.

     12-fret slope-shoulder dreadnaut, with slotted headstock. High-grade Mahogany back, sides and neck. Choice Sitka Spruce top. Ebony fingerboard and bridge. Cut diamond inlays in fingerboard. Waverly tuners. Herringbone purflings around top edge and soundhole rosette. Multiple ivoroid bindings on top and back of body. Traditional wooden "zipper" back strip.

     Built in the style of the earliest Dreadnauts from around 1930. Nut width is a "generous" 1 7/8". Pin spacing at bridge is 2 5/16".

     This is a great sounding guitar. It has a fast, sure attack with lots of presence and depth, and exhibits the shift in tonal timbre that these 12-fret guitars are famous for.

     Exc(+) condition. This is a nice guitar that has some playing experience, but isn't beat up. One stray mark on the top on lower bass side near binding. Some slight evidence of playing markes in frets.

     Mahogany back, sides and neck. Select Sitka Spruce top. Ebony fingerboard and bridge. Pearl dot inlays in fingerboard.

     Fishman Elipse Aura system installed in guitar. This is a great pickup system that has programmable presets, anti-feedback, and more! This system comes with a CD from Fishman that you put in your computer, link directly via USB cable(included), to choose between 99 preset "images" to download into your guitar. This system is far better and more versatile than the Taylor "Expression" pickup system.

     The guitar sounds great acoustically, as well, and is set up to play with no problems.

     Excellent condition. Sapelle back and sides, with select Sitka Spruce top. Comes with factory installed pickup. Nice condition, nice playability, nice sound, no problems.

     Exc(-) condition. One-owner guitar. Has a few dings here and there, button rub area on back, some wear on back of neck. NO cracks or repairs. Frets show some denting but not deep enough to worry about.

     This guitar is from the Lemon Grove shop, meaning it was built when Taylor was still a fairly small production shop crafting a few hundred guitars per year. To put it in perspective, by around 2003 - 2006 or so, Taylor was up to about 100,000 pieces or more per year! If you understand those different numbers in relation to building "soul" and real tone into an instrument, then you will understand why these Lemon Grove guitars are much more sought-after than the same Taylor guitars from more recent years...

     Select Sitka Spruce top with beautiful honey colored Rosewood back and sides. Ebony fingerboard and bridge. Original nut and saddle and tuners - all in good shape. Abalone soundhole rosette.

     Now... about the sound... If only Taylor would build guitars that have this sound today. This is a REAL guitar for tone. It has a great attack, great depth, and a big full voice.

     In short, this Taylor is one that will stand up to many other high-end guitars for tone...  The set-up is good and it doesn't have any problems.

     Exc original condition. Cutaway Dreadnaut with Rosewood back and sides, select Sitka Spruce top.

     Rounded cutaway. Multiple wood bindings on body, with Abalone soundhole rosette. Lots of "silk" in the high grade Sitka Spruce top. Blank Ebony fingerboard.The "WMB" designation means 'With More Bass', meaning Taylor implemented some design shifts to favor a fuller bass response.

     Only slight playing wear on frets - they are fine and need no adjustment. Action is nice and low.

     * Price Recently Reduced.

     This is a pretty unique archtop guitar from Weber. I can't say that I have ever seen a guitar top with as much figure as this one. It is shot through with "cloud figure", "bearclaw figure", and "flame figure" all over the top.

     The back, sides and neck are complimentary highly figured Maple. Ebony radiused fingerboard with rounded diamond position markers. Peghead has Weber Logo and Celtic knot inlaid in pearl. Top, back, fingerboard and peghead are bound with Ivoroid. Pickguard is solid Ebony with Ivoroid binding, and is scalloped for better playability. Tailpiece and bridge are beautiful designs by Vern Brekke, at Weber.

     * Price shown is "List" Price - call us or email for your quote!