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Taylor’s 12-fret necks feature the slightly shorter 24-7/8-inch scale length of the Grand Concert and a repositioned bridge that sits closer to the center of the lower bout. The result is a slinkier handfeel that makes it easier to form chords and bend strings, and a tonal response that boasts surprising power, warmth, and sustain for the smaller body. The blackwood back and sides produce a strong midrange focus with a splash of top-end shimmer, while the mahogany top helps even out the tonal response. Other distinctive features include a shaded edgeburst top, an all-satin finish, small diamond inlays in Italian acrylic, a Venetian cutaway, and Taylor’s Expression System 2 pickup.

This unique JB model features a Quartersawn Maple neck, and a Rosewood fingerboard with no inlay!

Model: JB
Body Wood: Alder
Body Finish: Old School Tobacco Sunburst
Pickguard: 3-ply White Pearl
Bridge: Saddle-Lock
Neck Profile: #8 G&L Medium C (.820-.920)
Nut: Bone
Nut Width: 1 1/2"
Radius: 7.5" Radius
Neck Wood: Quartersawn Maple
Fingerboard: Rosewood
Neck Finish: Satin Clear
Frets: Medium Jumbo
Neck Other: Fingerboard Dots Deleted
Tuners: G&L Ultra-Lite
Pickups: G&L JB Alnico 5 Single Coil
Controls: Dual Volume, tone
Setup: PLEK
Case: Deluxe Black Tolex

Until now, torrefied spruce tops have been reserved for Taylor's maple 600 series, so this limited edition 714ce Koa/torrefied Sitka spruce beauty serves up a unique treat in both look and sound.

Now, all of you Taylor aficionados may think you know all about this guitar, but you folks need to rethink the norm! So...where shall I begin? Let's start with the front view of this instrument. Yes, it is sitka spruce. But, torrefied sitka spruce. So, you top-off the aged look of the torrefied top with a very tasteful Western shaded sunburst. Now this is something special. The ebony fretboard does indeed have some of the variegation unique to each of these 714ce Ltd guitars. This unique look to each fretboard comes as a result of Taylor's ecologically sound decision to use "imperfect" ebony for fretboards. I feel that this uniqueness to each fretboard is one of the attractions. The nice colorful paua rosette and the pearl Century fretboard inlays, along with the abalone dotted ebony bridge pins all leave you with a first impression that you can't forget. But that is just the top! This Grand Auditorium cutaway guitar has a back and sides of gorgeous Hawaiian koa, normally reserved for Taylor's legendary Koa Series. Big, wide grain, colorful and straight. Upon closer inspection, you'll notice that the back is of three pieces. Koa has a natural sounding midrange and singing bright trebles. When you couple those qualities with the played-in vibe from the torrefied spruce-soundboard, you end up with a smooth, warm and responsive sound and feel. Taylor is making a very limited run of these guitars that will only be available for their Roadshow presentations. At our very recent Roadshow event, this guitar was THE standout over all of the guitars brought in for the show, and there was indeed plenty of competition! Nice hardshell case, the latest ES2 electronics. There is certainly a lot to love about this fine instrument!

A very cool new model from John Suhr. Dual-humbuckers (Thornbuckers), a very thinline-esque body and f-hole, "chopped" 3-saddle bridge, stainless steel frets, 9-12" compound radius fingerboard, and locking tuners. All the specs and refinements you expect from a Pro Series Suhr.

Here's a super cool bass that you don't see very often. We have a 1963 Gretsch 6070 Country Gentleman hollow body bass. Featues one single Gretsch Supertron pickup. This is a great sounding bass, perfect for blues, jump blues, jazz, rock, anything you want. The neck feel has a similar profile to an upright bass: BIG and full, and it has that upright bass thump too, even when it's plugged in. Just so cool. Now the downside: it has the typical vintage Gretsch binding issues, which means it's going brittle and crumbling. The previous owner says the binding hasn't changed in the last 20 years, and it does appear to be stable. If it were mine, I would leave the binding alone. It certainly doesn't affect the sound or playability. The finish is original...everything is original for that matter. We are selling it as-is regarding cosmetic issues, but we guarantee that the bass works and plays fine. The frets are in good shape. This bass has had flatwound strings on it its entire life, so the fingerboard is in fine shape. The bass player for the Sons Of Champlin played a bass just like this at the Human Be In in San Francisco, so there's that. There is no case and no stand post.

The new 3-channel, 50-watt, EL-34 powered Triple Crown TC-50 from MESA Engineering captures the essence of Rock with the ability to inspire new genres in a way only MESA can. Emanating from the “other side of MESA” that spawned Rock’s iconic Dual Rectifier, this new platform features a bold set of new circuits unlike anything else in our line.

From bubbly, sparkling clean sounds, rarely heard in this type of amp, to an amazingly tight and aggressive wall of Rock Crunch, to one of our most vocal, harmonically rich and gain-laden high-gain channels ever, the Triple Crown is aimed at Rock’s high-gain throne! Experience a new generation of Rock Royalty – The Triple Crown TC-50!

Dana Bourgeois says: “Many years ago, inspired by Eric Schoenberg, I built what I believe was the first OM having a style of cutaway that has since become something of a modern classic. Eric and I later founded a company to produce the new model, which we named "The Soloist", after an elegant fingerstyle guitar from the Victorian era. The Bourgeois Soloist is a true fingerstyle OM, featuring a European spruce top, Brazilian rosewood back and sides, a 2 5/16" ebony pyramid bridge, and the original Soloist style cutaway. Maintaining the spirit of the original Soloist, I combined the finest woods with the simplest of appointments, including Ziricote body bindings, simple wooden rosette, short pattern slotted squares and diamonds inlay, and a distinctive slotted triangle on the heel cap. While on the subject of decoration, I should note that the marquetry backstrip that I first designed for the Soloist (and now use on many of my guitars) has been as widely emulated, and is presently available through a number of lutherie suppliers. Far from being offended, I am delighted by the notion that other luthiers have mistaken this for vintage design!"

The Emperor Guitar, Fodera's new double cutaway, bolt-on offering, combines the classic sparkle and chime of ‘60’s and ‘70’s blues and surf sounds with added tonal flexibilityfor today’s player. The Emperor features a premium, handselected Alder body and Indian Rosewood fingerboard paired with a 3-piece Hard Rock Maple neck and angled back headstock. The Emperor Guitar comes with a custom set of Seymour Duncan Single-Coil pickups providing the authentic chime, sparkle, and feel that only vintage single coil pickups deliver. Unique to the Emperor Guitar is a pickup configuration that allows for a wider variety of tonal options compared to traditional Single-Coil-style instruments. In addition to the traditional 5-way pickup selector, a bridge pickup switch has been provided to allow the bridge pickup to be engaged with any pickup selector position.

The S2 Vela Satin is a vintage-inspired guitar with loads of personality and tonal textures. The Vela boasts an offset body shape that is at once elegant and edgy. The addition of a satin nitro finish for this limited edition gives the Vela added attitude and resonance and a truly addictive feel.
Its pickguard-loaded electronics feature a PRS-Designed Starla pickup in the bridge, providing a bright, punky tone, and the PRS-Designed Type-D Singlecoil in the neck that gives the Vela some noteworthy bite. The coil-tap on the tone control allows the bridge pickup to split to singlecoils, providing a balanced tone that will cut through the mix with style. Anchoring this guitar is the PRS plate-style bridge with two saddles that were designed to compensate for intonation. This bridge harkens back to Paul’s early designs and traditional bass plate-style bridges, but is top-loading for easy restringing. Like the bridge found on Paul’s Guitar and some Private Stock models, PRS’s new plate-style bridge features brass saddles and an aluminum plate for maximum tonal sustain.

Model: Studio Elite HD
Finish: Black & Blue Shmear Semi-Gloss
Body: Alder
Neck: Quartersawn Maple
Fingerboard: Indian Rosewood
Shape: Thin '59 (.825"-.950")
Radius: Compound 10"-12"
Nut Width: 1 5/8"
Tuners: Hipshot Locking
Bridge: G2RV
Controls: Volume, Midboost, Tone, 5-Way, Midboost Bypass
Neck Pickup: JTS5500
Middle Pickup: JTS5500
Bridge Pickup: Supercharged Studebaker
Case: Deluxe Hardshell
Weight: 7 lbs 11 oz

We are proud to offer a 1957 Gibson ES-175. Serial number A25639. This is a fine collector's grade instrument, about as good as it gets. This guitar is clean...very clean. It has one original PAF humbucker pickup. This is the earliest of Gibson humbucking pickups, without a sticker, a proto PAF. These are different than the later PAF's. It sounds more like a P-90 on steroids: big, fat, and clear, but without the hum. It's pretty amazing that this guitar still has the original pickup. An original '57 PAF is one of the most sought after pickups on the planet! The neck is big, like all 1957 Gibsons, and it feels great. Original Kluson tuners: the same ones you'd see on an original '59 Les Paul. The pickguard is replaced, and the first 5 frets have been professionally replaced. Other than that, it is all original. No cracks. No structural issues. It's clean and nice. A strong excellent condition. It's just so, so cool. Beautiful patina. I get this great image of Joe Pass playing this guitar. In many ways (really in all ways), this is the ultimate jazz guitar. I hate to confine this guitar to just one genre of music because it's a great guitar period, for all styles of music. It's just a stunning instrument. It comes with a 1960's Gibson pebble grain, orange interior case.