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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.

  This Custom 24 features a Pattern Thin neck carve, and a Yellow Tiger Finish
  The Custom 24 is the quintessential PRS guitar. This iconic instrument was the first model that Paul Reed Smith brought to the public at PRS Guitars’ first Winter NAMM show in 1985 and has been a top seller ever since. Played by internationally touring artists, gigging musicians, and aspiring players, the Custom 24 features PRS’s patented Gen III tremolo system and PRS 85/15 pickups with volume and tone controls and a 5-way blade switch. 85/15 pickups were personally designed by Paul Reed Smith to offer remarkable clarity and extended high and low end.
  The Custom 24 is the original PRS. Since its introduction, it has offered a unique tonal option for serious players and defined PRS tone and playability.

  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.

Crafted with hand-friendly design features, an inspiring tonewood pairing and a suite of celebratory appointments, the 50th Anniversary Builder’s Edition 314ce LTD offers exceptional comfort, playability, tone and aesthetics. This ultra-refined version of one of the best-selling U.S.-made acoustics boasts a bevy of comfort-enhancing features: a beveled armrest and cutaway, chamfered body edges and a contoured Curve Wing bridge. Urban Ash back and sides, responsibly sourced from Southern California, produce midrange power and balance akin to high-quality Honduran mahogany. Its solid Sitka spruce top offers a warm, punchy midrange, crisp trebles and impressive low-end presence. The body, which sports a firestripe pickguard, is finished with a vintage-vibed Kona burst and our smooth Silent Satin sheen. Like other 50th Anniversary Collection guitars, this versatile cutaway Grand Auditorium features a commemorative label inside, ebony bridge pins with gold acrylic dots and premium Gotoh 510 antique gold tuners. It comes with ES2 electronics and ships in a Taylor deluxe hardshell case.

  This CE24 features a Black Amber Finish, and Pattern Thin neck carve.
  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 PRS SE Standard 24-08 is a mahogany-body workhorse guitar with powerful humbucking and true single-coil tones in one instrument. Its PRS TCI “S” pickups are paired with a 3-way toggle switch and two mini-toggle coil split switches that individually split the humbuckers into true single coils for a total of eight pickup configurations. Players can enjoy two full octaves thanks to the 24-fret, 25" scale length rosewood fretboard and wide thin maple neck, and the PRS patented, molded tremolo gives players added flexibility and control over their playing. With sonic range and rock-solid reliability, the PRS SE Standard 24-08 will keep you playing without compromise.

  This Custom Build Banjo Killer is a standard square shouldered dreadnought with a premium bearclaw Sitka spruce top and figured mahogany back and sides. Square headstock shape. The bracing for this guitar is modeled after Bryan Sutton’s famous Bourgeois dubbed the “Banjo Killer". The fingerboard and belly bridge are figured ziricote wood. The Tor-tis pickguard is handmade, and the bridge pins are ebony with abalone dots. The tuners are Nickel Waverly with ivoroid buttons.
  Bryan Sutton has this to say: "From the first time I played the Slope-D Bourgeois that would come to be known as the "Banjo Killer", I was amazed at the range of tone and volume the guitar could produce. The guitar always seems to be to able to handle any dynamic level of play. I can hear the guitar clearly in a loud jam session without feeling like I have to overplay and also enjoy a full and sustained tone when I want to play softly.”