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The Grand Concert model is a refined and beautifully proportioned shape, and is everything you could desire from an acoustic and more. Its tone is a wonderful blend of balanced clarity, and punchy projection, with a smooth rich bass response. It has a singing lyrical treble, with excellent sustain, and is comfortable to hold. Though it is a small guitar, the Grand Concert does not exhibit the tight nasal tonal quality in the midrange and bass that is generally associated with smaller guitars. While the GC is considered ideal for the fingerstylist due to its sensitive, dynamic responsiveness, it is equally appropriate for the plectrum player. It is prized by Bluegrass flatpickers, and has even been said to surpass large bodied dreadnought guitars with respect to its clarity, sustain and powerful projection.

We know those sounds from countless guitar-driven hits of the ’50s and ’60s, laced with everything from toothy, biting twang to snappy, glassy chime enabled by those classic Fullteron amps’ transition from tweed to blackface. The Carr Sportsman captures it all in one versatile and eminently playable package, exuding tones so sweet you can stop turning back to tweak and just let your calloused fingertips dig in and enjoy.

  This Special Semi-Hollow features a Pattern neck carve, and a Charcoal Cherry Burst finish.
  The PRS Special Semi-Hollow offers players a versatile hum/“single”/hum configuration with two PRS 58/15 LT humbuckers and a PRS Narrowfield middle pickup. PRS Narrowfield pickups deliver the bite of a single coil, so they cut through the mix with plenty of clarity and punch – without the hum. Paired with a 5-way blade switch and two mini-toggles that split the 58/15 LT humbuckers, this guitar can handle myriad sounds and styles (with twelve pickup combinations in total). Roll back the tone control for added growl, turn it up for some shimmer, and have fun exploring this versatile tonal palette.
  Additional specifications include a maple top, mahogany back, 22-fret 25” scale length mahogany neck, rosewood fretboard, Phase III locking tuners, and the PRS Gen III patented tremolo system. The volume levels between the humbucking and single-coil settings remain very even, and the semi-hollow body with single f-hole provides a welcome airiness and depth to the guitar’s tone.

Here's a Fender American Standard Stratocaster in a stunning Candy Apple Red finish. Made in 1996, it's in very good condition. This classic Strat features a maple neck with an Indian Rosewood fingerboard, combining iconic looks with exceptional playability. Aftermarket white pearloid pickguard. It has a commemorative sticker bearing the words "Fender 1946-1996 50 Years of Excellence" applied on the back of the headstock. With the only noticeable blemishes being a small screw hole in the top (drilled for a MIDI pickup), and a couple of scratches on the edge of the top. Despite these minor imperfections, the guitar feels, plays, and sounds great. The frets show no wear. It has been well cared for and is ready to be played. Comes with a non original Fender Squire molded hardshell case.

  Here's a very cool 2008 Flaxwood Voima electric guitar. Crafted in Finland, these instruments are known for their innovative use of materials, exceptional build quality, rich tones, and superb playability. This Voima guitar is in excellent condition, with minimal signs of use: only light pickwear, no dents, nicks, bumps, or buckle rash. The neck is straight and true, and the frets show only the slightest hint of play wear. It has been well cared for and recently set up professionally with new strings. It comes with all of the original paperwork, hangtag, adjustment tools, tremolo bar, and hardshell case.
Special Note:
  This particular Flaxwood Voima guitar was showcased at the NAMM show in 2008, when Flaxwood was first introduced to the USA market. Its history as a NAMM showpiece adds to its uniqueness and value.

Keith Schexnayder is a local Memphis musician and luthier. Having always been an artist, guitar building is yet another outlet for his creativity. Keith's technical and woodworking background, combined with his strong desire to express himself musically, and his love for the guitar, inspired him to enter the world of lutherie. His instrument building is all about the art of combining musical tone with aesthetic beauty. This is not a parts guitar. Keith carved the neck and body, sprayed the finish, and assembled it himself. This guitar features a light-weight two-piece Louisiana Swamp Ash body, maple neck, and Indian Rosewood fingerboard. Very light at 6 pounds, 14 ounces. This is a great guitar, lovely in appearance, lovely in tone. Great woods, great parts, a great builder...all of this comes together in an outstanding guitar.

  As with all of Collings' Traditional Series guitars, when it came time to add a “T” designation to their slope-shoulder offerings, they didn’t simply tweak the original; the all-new Collings CJ-45 T is a fully re-imagined instrument that offers a distinct tonal variation when compared to their CJ and CJ-35 models.
  Strongly vintage-inspired, the body construction has been completely re-engineered, including new bracing carves and patterns. When combined with their latest T-Series neck design, and new CJ-45 neck profile, the result showcases a tone that is exceptionally dry and fundamental with the growl and thump sought after in the great slope-shoulder dreads of the Wartime era.

The classic Dreadnought, featuring an Adirondack Spruce top! The square-shouldered 14-fret dreadnought is the most popular steel-string acoustic guitar body shape in the world. While Collings is certainly not the only company to build them, they bring a new tonal clarity to the depth and warmth usually associated with such a large, deep-bodied guitar. Although its bass response makes the dreadnought ideal for vocal accompaniment, Collings versions are also often employed by bluegrass flatpickers who must compete with inherently louder instruments such as banjos and fiddles.

The original CE was introduced in 1988 and offered players PRS design and quality with the added snap and sparkle of traditional bolt-on guitars. Since the dawn of rock and roll, the snap and response that comes from a bolt-on neck guitar has been an essential part of the mix. These attributes have, in turn, become essential to many players trying to tell their story through music. The CE 24 pairs PRS's traditional body combination of the mahogany back and maple top with a bolt-on maple neck and rosewood fretboard. The neck sports a Pattern Thin carve and satin nitro finish for a natural, addictive feel. To further maximize the guitar's inherent tone and clarity, the CE 24 features PRS 85/15 pickups, which Paul designed to have remarkable clarity as well as extended high and low end. The electronics consist of a volume and push/pull tone control with 3-way toggle switch for a total of six classic sounds.

The Horizon Custom ’87 takes the amazing archtop body of the ESP Horizon, and offers it exactly as you’d have found it in the late ‘80s and early ‘90s… minimally adorned and built to shred! This guitar offers neck-thru-body construction at 25.5” scale for intense sustain, pairing an alder body and an extra-thin three-piece maple neck. The Horizon Custom ’87 features a Macassar ebony fingerboard with 24 extra-jumbo frets and no inlays; side position dots help you find your way. Its components include a Floyd Rose 1000 double-locking tremolo, a Seymour Duncan TB-5 Custom Trembucker in the bridge, and a Seymour Duncan Hot Rails in the neck position. Coil spitting for single-coil tones on either or both pickups is available via push-pull controls on the volume and tone knobs.

Featuring a Thermo-cured Sitka Spruce top, and Rosewood back and sides. Iconic, big, and bold. You’ll never have to worry about competing for sonic space with this classic, flat-picking bluegrass instrument. Perfect for ensemble settings where cutting through the mix can be an issue.