Acoustics

  The Goodall Grand Concert might be one of the world's most perfect guitars. With its refined and beautifully proportioned shape, it is everything you could desire from an acoustic guitar and more. It's tone is a wonderful blend of balanced clarity, and punchy projection, with a smooth rich bass response. This instrument is larger than the Parlor but smaller than the Concert Jumbo. 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 Grand Concert series is considered ideal for the fingerstylist due to its sensitive, dynamic responsiveness, it is equally appropriate for the flatpicker or plectrum player with the appropriate tonewood combination. It is prized by Bluegrass flatpickers and has even been said to surpass large bodied dreadnought guitars with respect to it's clarity, sustain and powerful projection.

Hofner made some cool guitars back in the day. They still do, but I like the vibe of the old ones. This guitar is quite similar to one Brian Jones used in the studio with the Stones. We have a 1968 Hofner 489 Western Model. It is a slope shoulder dreadnought. Looks like a Gibson J-50. It has maple back and sides, a spruce top, adjustable bridge saddle, and micro tilt to adjust the neck angle. It is clean, very clean. It has some lacquer checking, but the only real playing wear is on the top near the lower part on the soundhole. The neck is straight, the frets are fine, the action is good, and it sounds great. It's really a cool guitar. The maple is nice and flamey. It's a cool part of 60's history. Comes with original gig bag.

The Goodall AKGCC Aloha Koa Grand Concert Cutaway: bold, articulate, complex tone, with a wonderfull punch in the midrange. Incredible sound. Incredible playability. Another top-tier, spectacular example of what an acoustic guitar can be from Goodall.

Here's an exquisite example of the richness of aging Hawaiian Koa. A 2000 Taylor K20CE acoustic electric. All Koa - top, back, and sides. The beauty of this guitar is matched only by its tone. This is a loud guitar with a smooth bottom end, articulate midrange, and sweet top end. It sounds amazing, like a great grand piano. Cutaway and factory Fishman Prefix Onboard Blender electronics. The guitar is in good condition, shows some slight overall play wear. The frets are in good shape. The neck is straight and true. Comes with original hard case.

I love the movie "High Anxiety". There are some great lines as the Bellman takes the acrophobic Psychiatrist to the top floor, saying "We are going to the top floor, all the way up, you can't get any higher, we're pretty high." That amuses me. We have the top of the line rosewood Taylor, a 914 CE. The only way to go higher in the standard Taylor production is to get a Presentation series model. The 900 series is top of the line for Taylor Indian Rosewood models. Our Taylor 914 CE is from 2016, and it is super nice. This is a near-mint example out of a collectors stash. The only blemish we can see is an impression in the top near the edge of the waist on the treble side. This guitar has beautiful Indian Rosewood with Taylor's Advanced Performance bracing, a beveled armrest, ebony binding, Gotoh 510 tuners, and label signed by the designer. It is a wonderful guitar, plays great, sounds great, and looks great. It is perfect and a joy to play. Comes with original hard case.

This darkly alluring cutaway Grand Auditorium boasts unique visual appeal thanks to its mahogany top, and there’s sonic magic under the hood as well. Taylor's groundbreaking V-Class bracing enhances the volume, sustain and projection, bringing out even more of the natural midrange focus of its Tasmanian blackwood back and sides. While the natural compression of the hardwood mahogany top tends to even out the response across the tonal spectrum, the V-Class design boosts the dynamic range, especially in the upper register, and the in-tuneness of the notes everywhere along the fretboard is wonderfully consistent. All of these nuances add up to a versatile choice for gigging, practicing or recording across multiple playing styles. The dusky hues of the mahogany top project a rootsy vibe, accented by a shaded edgeburst, black binding, a matching pickguard, and muted satin-finish sheen. The guitar ships with ES2 electronics in a deluxe hardshell case.

Neck Material: Maple
Fingerboard: Ebony
Fingerboard Radius: 12"
Nut: Bone 1 3/32"
Fretwire: 23 Jescar FW37053
Scale Length: 13 7/8"
Body Style: F-Style w/ Oval Hole
Body Top: Solid Spruce
Body Back/Sides: Solid Maple
Truss Rod: Single Acting
Binding: Top
Binding Material: Ivoroid
Logo: Pearl Headstock
Inlay: Pearl Dots
Rosette: Diamond Pattern
Side Dot Color: Black
Body Finish: Gloss Nitrocellulose
Neck/Headstock Finish: Gloss Nitrocellulose
Harware Color: Chrome
Bridge: Adjustable Compensated Ebony Bridge
String Spacing: 1 5/8"
Nut Height: .018"
Tuners: Pingwell RM-1583N-26A
Strap Peg: Ebony
Strings: D'Addario J74
Case: Hardshell Case

The idea of buying a new guitar straight off the rack, that is comparable to the great vintage Gibson J-45 models, is pretty mind boggling. The idea of getting a pro-level acoustic with all solid wood construction, nitrocellulose finish, beautiful sunburst, and Adirondack Spruce top for under $1200, is also mind boggling. The Eastwood E10 SS is totally comparable to the old Gibsons in sound, tone, playability, and looks...and that is just a wonderful thing. This is a really serious guitar. It's not that it's great-for-the-money, it's just GREAT.

-Torrefied Sitka Spruce top
-1 3/4" nut
-East Indian rosewood back & sides
-Grained ivoroid binding
-Herringbone trim with matching backstrip
-Cross-cut grained ivoroid & wood nitrate strip rosette
-Adirondack Spruce braces
-Pre-war scalloped bracing
-Tortoise-style pickguard
-High gloss nitrocellulose lacquer finish
-Mahogany neck
-Ebony peghead overlay
-Inlaid Collings Logo
-Ebony fingerboard and bridge
-Traditional diamond and square fingerboard inlays
-Fully adjustable truss rod
-Bone nut and drop-in saddle
-Ebony bridge pins and end pin
-Nickel Waverly tuners
-#28893
-Collings Hardshell Case

This stunning Grand Auditorium from Taylor's new Builder’s Edition collection features Hawaiian koa back and sides paired with a torrefied Sitka spruce top. The guitar was inspired by their groundbreaking V-Class bracing, which boosts the volume evenly across the tonal spectrum, increases the sustain, and improves the natural intonation of the guitar by creating a more orderly response from the soundboard. The result is a more harmonious relationship between the notes you play, helping chords sing with cohesive beauty. Another design emphasis of Builder’s Edition is enhanced playing comfort in the form of ergonomic new body contours. Details include a beveled armrest, beveled body edge treatment, and a reshaped cutaway that flows smoothly into the heel and incorporates a finger bevel where the cutaway meets the soundboard. This creates a more fluid path to the guitar’s upper-register notes for your fretting hand. Other refined touches include “silent” satin finish, which helps quiet the incidental noise against the guitar body, and a gorgeous new Kona burst that highlights the natural beauty of the figured koa back and sides. Inset koa/paua top and back trim adds a beautiful sparkle that complements the new Spring Vine fretboard inlay. In every way, this K14ce acoustic guitar embodies the ultimate player’s guitar and testifies to the benefits of innovative craftsmanship.

Part of a limited run of "Summer Sunset Specials". This special run features a beautiful vintage edge burst on the soundboard with a translucent vintage brown on the back and sides. The single piece neck is natural mahogany. Jean Larrivee has also signed the label of this guitar which adds a nice personalized touch.