Inspired by the coveted WWII war-era guitars, the Gibson Southern Jumbo Banner features a period-correct, vintage sunburst finish and gold script Gibson logo, with the famous banner decal that reads “Only a Gibson is Good Enough.” This was the attitude of the most prominent guitar builders of the time, and there is a reason collectors want to get their hands on the flat tops from this era.
This “Banner” reissue really delivers, offering the key specs that have made some of these vintage guitars sound so amazing. With a J-45 series body style, it features an Adirondack red spruce top, mahogany back and sides, and a mahogany neck that is carved into a period-correct “V” profile. Every build detail was taken into account to make this Southern Jumbo a historical reproduction, with 1930’s advanced scalloped x-bracing, a compound dovetail neck joint, hide glue construction, open-back vintage style tuners, and a traditional rosewood rectangle bridge with an open-slot bone saddle. All these specs add up to a guitar that sounds full and warm, with boisterous dynamics; a guitar we just couldn’t put down! Gibson Authorized Dealer Vintage Sunburst Nitro Finish J-45 Body Style Compound Dovetail Neck Joint, Hide Glue Construction 1930s Advanced Scalloped X-Bracing Adirondack Red Spruce Top Mahogany Back and Sides Mahogany Neck Rosewood Fretboard with Mother-of-Pearl Parallelogram Inlays Period-Correct „V“ Neck Profile 24.75″ Scale Length 12″ Fretboard Radius 1.77″ Nut Width Bone Nut Nickel Open-Back Vintage Style Tuners with 15:1 Ratio Traditional Rosewood Rectangle Bridge with Open-Slot Bone Saddle Multi-Ply Body Binding and Rosette Traditional Teardrop Pickguard
When we think of resonator guitars, it is the National and Dobro designs from the late 1920’s that generally come to mind. Indeed, few other names have penetrated this niche market. The Republic range covers both classic single-cone and tri-cone models, adding features that give a modern dimension to these very traditional instruments, such as body cutaways and options like classic nickel or „distressed“ metal finishes. Republic Guitars was founded in the town of Rowlett just outside of Dallas Texas, in August 2013 we relocated to our new home in Austin.
Hollow-body, singlecone resonator Materials: Steel Finish: 3TS Painted Steel Cover plate: Diamond 14 frets to the body 1 13/16″ bone nut 25 1/2″ scale 18 1/4″ body length 10 1/4″ upper bout 14 1/4″ lower bout 3″ body depth Round mahogany neckrosewood neck & fret board Hand spun aluminum „Continental“ cone Antique style geared tuners Dot position markers Adjustable trussrod Rosewood biscuit Maple saddle Durafoam case included
Style #310 Hollow-body, single cone resonator Materials: Bell brass Finish: Antique Copper Cover plate: Diamond 12 frets to the body 1 7/8″ bone nut 24 1/2″ scale 18 1/2″ body length 8 1/2″ upper bout 12″ lower bout 3″ body depth Round mahogany neckrosewood neck & fret board Hand spun aluminum „Continental“ cone Quality open geared tuners Dot position markers Adjustable trussrod Rosewood biscuit Maple saddle W/Feather-lite/Durafoam Case
Finished in an eye-popping gloss white with gold accents, the G5022CWFE Rancher Falcon is big on wow factor. Rocking an arched-back jumbo cutaway body with a solid spruce top and maple back and sides, this flattop’s also big on tone. And when you plug in onstage, the onboard Fishman electronics amplify that great sound perfectly. If „different“ is what you want, the Gretsch G5022CWFE Rancher Falcon is what you need.
Solid Spruce Top with Laminated Maple Back and Sides Jumbo cutaway flattop body style with arched back Stunning gloss white finish with gold accents Mahogany neck, rosewood fingerboard with 21 vintage-style frets and neo-classic Thumbnail inlays Fishman Sonicore under-saddle pickup, Isys + preamp system Controls: Volume, Treble, Bass, Phase, Onboard Tuner, Battery-life Indicator V-Shaped Falcon headstock with gold-sparkle inlaid Gretsch vertical winged logo Gretsch Rancher triangular sound hole Strum different, with the Gretsch G5022CWFE Rancher Falcon! Tech Specs String Type Steel Number of Strings 6 Body Style/Shape Jumbo Cutaway Left-/Right-handed Right-handed Color White Finish Gloss Polyester Top Wood Solid Spruce Back & Sides Wood Laminated Maple Neck Wood Mahogany, Set Fingerboard Material Rosewood Fingerboard Inlay Neo-Classic Thumbnail Binding Gold Sparkle Number of Frets 21, Vintage Style Scale Length 25″ Tuning Machines Deluxe Die-Cast Bridge Material Compensated Synthetic Bone Saddle with Rosewood Base Nut/Saddle Material Bone Nut Width 1.675″ Electronics Fishman Sonicore and Isys+ Preamp
Gibson Acoustic’s SJ-100 acoustic-electric guitar is a stunning re-creation of one of the company’s rarest flattops. Introduced in 1939 as a more affordable and less ornamented stablemate to the SJ-200 „King of the Flattops,“ the SJ-100’s tasteful, simple appointments and solid spruce/mahogany construction delivered a massive dose of premium tone and playability. And it still does. To bring that rich tone to the stage or the studio, this superb American-made instrument is fitted with a Baggs Element pickup system. Own a piece of music history – the Gibson Acoustic SJ-100.
The Gibson Super Jumbo Rosewood bodied acoustics are where it’s at for recording Classic Gibson Craftsmanship The Gibson Super Jumbo Gibson’s Super Jumbo guitars were originally built to cut through the loudest acoustic ensembles, allowing them to compete with the mandolins and banjos that were prevalent in „pre-amplified“ times. It’s still a thrill to hear the well-balanced sound of a Super Jumbo ring out loud and clear, the maple sides and spruce top pumping out a throaty tone that’s equally great for high-octane strumming and delicate fingerpicking. Everyone from arena rockers to country artists to blues greats choose these guitars for their incredible sound, projection, build quality, and, let’s face it, stunning looks. Mahogany bodied acoustics are where it’s at for recording When it comes to recording flat-picked acoustic guitars, professional recording engineers prefer instruments with a mahogany back and sides, rather than rosewood. If that surprises you, understand that it has to do with the preponderance of low end inherent in rosewood-bodied guitars (that must dealt with) – versus the perfection with which a properly-recorded mahogany-bodied acoustic sits within a track. The Gibson Acoustic SJ-100 is a cannon – very loud, but superbly balanced. It’s a great choice for tracking in a thick mix – yet it sounds rich and full-bodied on its own. Just aim a small-diaphragm condenser mic at the 12th fret and you’re good-to-go. Record the Baggs Element pickup output to another track and you’ve got beaucoup mix options. Classic Gibson Craftsmanship Gibson’s reputation as a fine guitar builder dates back to the late 1800s. Handcrafted since day one by some of the most skilled luthiers around, Gibson acoustic guitars have inspired countless players around the world. When you pick up a Gibson acoustic, you know you’re getting the finest tonewoods, quality hardware, and incredible attention to detail – these instruments are built to sound great and stand the test of time. After moving from Kalamazoo, MI, to Nashville, TN (where Gibson electric guitars continue to be made), Gibson finally settled their acoustic operation in Bozeman, MT, where they continue making some of the finest guitars on the planet by hand. Gibson Acoustic SJ-100 Acoustic-electric Guitar Features: 100% American-made; quality Gibson handcrafted construction All solid wood: spruce top and mahogany back/sides deliver superb tone MOP dot inlay on bound fretboard; unique firestripe pickguard Historic rosewood, hand-finished bridge Baggs Element pickup Hardshell case included
The legacy of Gibson’s line of celebrated Jumbos is not lost in the J-185 EC. This eye-catching model builds on the traditional foundation of Gibson’s Jumbo body style, and moves into the present vanguard with a cutaway design for easier playability, along with several elegant, modern appointments for increased aesthetic appeal. The sound is everything you expect from a Gibson Jumbo: warm, huge low end with ringing, harmonically rich treble response, capable of achieving a pure dynamic contrast, which makes it the perfect acoustic for just about any musical genre.
With a gear ratio of 14:1, the Rotomatics deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage. A countersunk tension screw lets players regulate the tuning tension to any degree. A special lubricant inside the gear box provides smooth and accurate tuning stability. Crown Peghead Logo Gibson put the first crown peghead logo on an ES-300 back in 1940, and it has graced the headstocks of many legendary Gibson guitars ever since, including today’s J-185 EC. Over the years, it has also been called a „thistle“ because of the group of flowering plants with the sharp prickles, though Gibson has preferred to call it a „crown.“ Pickguard The tortoise pickguard for the J-185 EC is Gibson’s standard 1950s-style Jumbo shape. As with all of Gibson Acoustic’s pickguards, the coloring, inlay, and binding are all crafted by hand. Abalone Rosette A rosette is the beautiful, hand-crafted circle around the soundhole, and can be one of the most ornamental elements of any acoustic guitar. It is also one of the most subtle and complicated woodworking decorations on any acoustic guitar. The rosette on the J-185 EC is a double-ring rosette with an abalone-filled middle. The main ring consists of seven-ply binding, and the second ring is three-ply binding, adding a stylish, understated elegance to the J-185 EC. Rosewood Fingerboard with Rolled Edges and Split Parallelogram Inlays The fingerboard of Gibson’s J-185 EC is constructed from the highest grade rosewood on earth, which is personally inspected and qualified by Gibson’s team of skilled experts before it enters the Gibson factories. The resilience of this durable wood makes the fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The J-185 EC’s split parallelogram inlays are made of genuine mother of pearl, and are inserted into the fingerboard using a process that eliminates gaps and doesn’t require the use of fillers. The fingerboard also sports a rolled edge—instead of the usual right angle where the fingerboard surface meets the neck, Gibson Acoustic’s rolled edges are slightly beveled for an extremely smooth and comfortable feel, enhancing the playability of the J-185 EC. Body Tonewoods (back, sides and top) The top of the J-185 EC is made from AA-grade Sitka spruce, while the back and sides are constructed from AA-grade Eastern curly maple, giving the J-185 EC a warm, huge low end with ringing, harmonically rich treble response, capable of achieving a pure dynamic contrast, which makes it the perfect acoustic for just about any musical genre. Selecting the right wood, and the formula to dry it out, are two of the most central procedures to Gibson’s guitar-building process. Beginning with its first catalog in 1903, Gibson has assured its customers that every guitar would be built using woods with „the most durable, elastic, and sonorous qualities,“ and today’s guitars from Gibson Acoustic are no different. Fishman Aura Pro Acoustic Pickup System Gibson’s J-185 EC comes equipped with a built-in Fishman Aura Pro, featuring Fishman’s popular Aura Acoustic Imaging Technology. This ground-breaking pickup system reproduces the natural sound of the J-185 EC as miked in a professional studio, and onstage, thus eliminating the complicated setups of expensive microphones. Auro Pro uses digital algorithms to create images of various microphones‘ captured sounds. Players can then blend these images with an acoustic guitar’s pickup to produce an immediate and dramatic improvement in amplified sound. The Fishman Aura Pro’s preamp includes a tuner, and is mounted on the bass side rim of the upper bout. Bracing Every acoustic guitar made by Gibson features hand-scalloped, radiused top bracing inside the body, a feature normally found only in limited-run, hand-made guitars. By scalloping each brace by hand, the natural sound of the acoustic is focused more toward the center of the body, enhancing the instrument’s sound projection. The bracing pattern inside the J-185 EC was created in 1951 as a smaller version of the design used in the Gibson’s legendary Super Jumbos. This traditional „X“ pattern delivers an exceptionally balanced tonal palette ideal for both the stage and studio environments, making the J-185 EC a standard choice among today’s discerning players. Gibson Logo The Gibson name has graced the most innovative and revolutionary acoustic guitars of our time—the Super Jumbos, the J-45, the Hummingbird, the Dove. There is no mistaking the classic mother-of-pearl logo pressed onto the face of the headstock. It represents more than a century of originality and excellence. There is simply no equal. Tapered Dovetail Neck Joint The dovetail neck joint is one of the oldest—and best—ways of securely joining the neck to the body of a guitar. It is also a complex and expensive neck joint to build, but the result is a tight, locking connection that supports the neck at the proper neck-pitch angle, allowing the body and neck to become one solid piece of resonating wood, with no metal to impede vibration. This process is done entirely by hand, requiring patience and skill. Radius Top The top of many „flat-top“ guitars are under a lot of stress from the pull of the strings, which can eventually compromise the top. So, while most acoustic guitars are true „flat-top“ guitars, each of the acoustics produced by Gibson in Bozeman, Montana has a radiused, or „tuned,“ top. Instead of being perfectly flat, a radiused, or „tuned,“ top is raised slightly, and a special instrument is used to shape the top braces to the radius of the top. This process adds tension and strengthens the top, creating a less stressful joint where the top meets the sides and reduces the stresses of string pull. It also results in a „speaker cone“ effect that maximizes sound projection, adding a significant boost to mid-range levels for a more balanced acoustic tone. Nitrocellulose Finish Applying a nitrocellulose finish to any Gibson acoustic guitar—including the J-185 True Vintage—is one of the most labor-intensive elements of the guitar-making process. Unlike the polyurethane finishes used by many guitar manufacturers, a nitrocellulose lacquer finish is porous when cured, allowing the wood to naturally „breathe“ and mature. Microscopically thin, many finish colors require up to seven evenly applied layers to complete, each of which is inspected, leveled, and wet polished between coats for a glass-like finish. The time-consuming nature of a nitro finish has been employed ever since the first Gibson guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish means there is less interference with the natural vibration of the instrument, allowing for a purer tone. It’s also a softer finish, making it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can’t do the same on a poly finish. Body Binding In general, a guitar’s binding serves as a cosmetic feature, adding a subtle elegance to any Gibson acoustic while hiding the joints between the top, back, and sides, and helping to protect the guitar’s body from any nicks or dings. But to see the process of putting the binding on a Gibson acoustic is to really appreciate the effort and attention put into each instrument. After the body has been glued together, the excess from the top and back are trimmed off and a groove is cut for the binding. The binding is then glued on and held on to the body using tape, and hung to dry. When the tape comes off, any excess glue is removed and the body is moved into the next phase of production. It has been done the same way for over 100 years, and is a fundamental part of Gibson Acoustic’s rich guitar-making history. Check the drop-down menu to the right to select colors and/or other options. Features Nickel Grover Rotomatic Tuners Crown Peghead Logo Abalone rosette Rosewood Fingerboard with Rolled Edges and Split Parallelogram Inlays Fishman Aura Pro Acoustic Pickup System Gibson Logo Tapered Dovetail Neck Joint Radius Top
The Collection combines Solid rosewood back and sides with a luthier-grade solid cedar top and high gloss Custom Polished finish. Built by our most experienced luthiers in the Godin acoustic studio. This guitar is top-of-the-line in every respect. The beautifully understated appearance is perfectly complimented by the Collection’s exquisite sound and feel.
Back & Sides : Solid Rosewood
Neck : Mahogany
Top : Cedar (Pressure Tested Solid Top)
Fingerboard & Bridge : Rosewood
Finish : High-Gloss Custom Polished Finish
Tusq® nut & saddle by Graphtech
Proudly handcrafted in Canada.
I love it when we get new ukuleles in stock which actually match their hype. We found out about these a few months ago, saw the pictures, thought we’d have a look – jolly glad we did! Think of a Pono crossed with an aNueNue, and you come close to the kind of build quality and looks to expect. They are very plainly designed, but well built and nicely finished. The body is made of all solid Philippine Mango wood, which makes a very rounded, sweet sound. The only other wood to be found on this model is the rosewood fingerboard and bridge – which is slightly harder than the Mango wood found on the MT-11 and as such soaks up fewer vibrations and helps towards a slight increase in volume and sustain. The difference is almost imperceptible, but some people might just prefer the traditional rosewood fixtures and fittings for no other reason than familiarity!
onally, this uke makes a very sweet, balanced sound, very Pono-esque (which is a compliment!), and has plenty of headroom for strumming hard. Picking style sound very crisp, and strumming sounds very clean. The lightweight body and bone nut and saddle really help to make the most of the sustain and volume, and make it a very lovely instrument to play and listen to. Aquila strings are fitted at the factory, and high quality Gotoh tuners are fitted, which make tuning it up a dream. Size: Tenor Body: All Solid Philippine Mango Wood Neck: All Solid Philippine Mango Wood Fingerboard: Indian Rosewood Finish: Semi Gloss Nr. of Frets: 18 Tuners: Gotoh UT-18
Fender electrics are a popular choice but there acoustic cousins aren’t quite so common. The new Paramount range, designed in the USA and made in China, are attractive, great value acoustic guitars. Whether you’re new to guitar or a more experienced player you should give them a try.
The PM2 parlour deluxe has a nice middle end balance with good projection and quite a ’new guitar‘ sounding upper-mid sound. This gives you a lot more depth than you’d expect from a guitar in this price range.
Some companies skimp on the finish on low-mid range models in favor of price. Fender have managed to fit a lot of personality onto these guitars without padding the price. They have a 60’s style checkerboard rosette, a 40’s style logo and 60’s style inlays. It might seem like a strange combo of decades and styles but the overall effect is pleasing. Pickup sound The Paramount pickup and preamp system in this guitar gives you a lot of tone options. It has a bass and treble EQ for fine tuning your amplified sound. The built in tuner is fast and responsive and the phase switch lets you cut-out feedback on stage. The pickups let the acoustic character of the guitar come through. The dreadnought sounds rich and deep while the parlour has a more potent mid range. Specifications Solid Rosewood Back and Sides Solid Spruce Top Ebony Fingerboard and Bridge Black headcap Nickel Tuners with Black buttons Bone Nut and Saddle Ebony Bridge Pins Paramount Preamp Fender Kingman Pickguard 70’s style bridge and headstock Deluxe Hardshell Case Humidifier Included
Warm, balanced midrange accentuates the Medina’s tonal spectrum for a pronounced definition of individual notes. The percussive attack resulting from the 24 3/4 “ scale enhances fingerstyle techniques with faster reaction and give a great compact response when flatpicked. The smooth tone of Sitka spruce with a slight modified “X” bracing sets the Medina apart from many similar instruments, providing better balance and excellent sustain.
MODEL: LJ-24B BODY: Round-shoulder Dreadnought TOP: Voiced Solid Sitka Spruce TOP BRACING PATTERN: Scalloped modified “X“ BACK & SIDES MATERIAL: Solid Sapele BACK CENTER STRIPE: Traditional black stripe ENDPIN INSERT: Traditional black stripe BINDING AND HEEL CAP: Striped Ivoroid NECK MATERIAL: Mahogany NECK SHAPE: Low Profile C-shape HEADPLATE: Ebony MACHINEHEAD: Butter Bean Vintage Style FINGERBOARD MATERIAL: East Indian Rosewood FINGERBOARD INLAY: Pearloid Dots NUT MATERIAL: Bone NUT WIDTH: 43 mm BRIDGE MATERIAL: East Indian Rosewood BRIDGE SADDLE: Compensated Bone SCALE LENGTH: 628 mm, 24.75“
Included with Gig bag.
Never judge a book by its cover! The Art and Lutherie Ami Cedar Antique Burst is modeled after the dimensions of a parlor guitar of the early 1900’s. Small in stature but surprisingly large where it counts most… Tone and projection.
The Ami’s tone is clear and pronounced, making it a great guitar for acoustic blues, slide, folk, fingerstyle or just to simply bring a different tonal color to your next musical project. While being extremely comfortable to play and very easy to carry around because of its compact size, the Ami’s amazing tone makes these guitars extremely hard to put down! Handcrafted in Canada.
Seagull’s flagship Artist Studio Concert Hall acoustic-electric guitar fuses premium tonewoods and innovative design together to give you the ideal guitar for any gig. A select spruce top delivers bright tone and massive projection. Solid rosewood back and sides give you a powerful, full-range voice with a bold attitude. The integrated set mahogany neck and ebony fretboard make chord work easy and single-note runs fast and smooth. The top-of-the-line Seagull Artist Studio Concert Hall acoustic-electric guitar is a musician’s dream come true.
s quest for tone gives you a better playing and sounding guitar Innovative neck construction and mounting delivers killer playability and tone Handcrafted in Canada for more than a quarter of a century Protect your investment with TRIC case technology Seagull’s quest for tone gives you a better playing and sounding guitar Robert Godin, owner of Seagull Guitars, has never been satisfied with good enough. His tireless search for the better guitar has created quite a few innovations that go into every guitar model that Seagull makes. Every Artist Studio Concert Hall’s top is pressure tested for rigidity and stiffness to ensure maximum harmonic vibration. The unique compound-curved top adds structural integrity to the guitar and allows for thinner bracing. Loaded with LR Baggs Element electronics, you’ll be able to coax great acoustic tones plugged in. Take it from the Sweetwater crew – the Artist Studio Concert Hall acoustic-electric will give you years of great performance. Innovative neck construction and mounting delivers killer playability and tone The attention and care given to each Seagull shows in their looks, playability, and tone. Seagull has also taken extra care to ensure that the Artist Studio Concert Hall’s neck helps create an amazing guitar experience. An acoustic guitar’s neck is more than just a fretboard used for playing, it also creates the guitar’s tone. Seagull’s integrated set-neck construction gives your guitar the sound you want and the stability you need in a performing guitar. This system provides stable and consistent action that also reduces warping and twisting. Thanks to this integrated system, the Artist Studio Concert Hall’s neck pitch is perfectly set. If it’s too far forward the instrument will sound muddy, or if it’s too far back the guitar will sound tinny. Seagull’s design assures optimized sound and playability with these and other innovations found throughout the entire Seagull line. Handcrafted for more than a quarter of a century For over 25 years, all Seagull guitars – from the S6 Original models to the Maritime models to the top-of-the-line Artist series instruments – have been handcrafted in the same place. About half of the population of the town works at the Seagull factory using locally sourced woods to create these exquisite guitars. You’ll love the attention to detail, the quality tonewoods, and Seagull’s commitment to making the best guitar possible. Grab a Seagull Artist Studio Concert Hall and experience the difference. Protect your investment with TRIC case technology Don’t leave the life of your new guitar in the confines of an inferior case. The TRIC case that comes with your PRODUCTNAME guitar is so much more than a typical gig bag. Constructed of the same material found in car bumpers and bicycle helmets, the TRIC case provides superior protection for your instrument. Beyond basic transportation, the TRIC case provides the much-needed climate stability that acoustic guitars thrive in. Extreme climate changes can mean certain death for your guitar but with the case’s hermetically sealed tongue and groove fitting The TRIC case’s thermally regulated design sees to it that your guitar stays at an optimal level of temperature and humidity. It truly is plush, protective, and portable climate control for your precious instruments. Seagull Artist Studio Concert Hall Acoustic-electric Guitar Features: Pressure tested solid spruce top offers superior tone, projection, and response Solid rosewood back and sides deliver warm, full acoustic guitar sounds Integrated set neck offers tuning and playing stability and eliminates twisting and warping Tapered headstock gives you a straighter pull, better tuning, and less stress Tusq nut and compensated saddle offer a sound similar to bone but with more harmonics Thin, custom polished finish lets the guitar vibrate more freely Dual-function truss rods assure the perfect neck alignment and relief LR Baggs electronics deliver great plugged-in tone Includes TRIC humidity resistant case
Slightly smaller but perfectly formed, Martin’s Dreadnought Junior has ‚electro-acoustic of the year‘ written all over it. Can it really be that good?
Today’s acoustic guitar market is flooded with a few body shapes at lots of different price points. It makes choosing your fit more difficult than ever – is that dreadnought really better than that one, or that one?
These similarities are no doubt why more and more brands are offering something a little different: for example, smaller guitars for ‚travel‘, or even bigger guitars, like baritones. In a crowded market, you have to be different.
Martin’s entry-level ranges, like the X Series, are made in Mexico. And to keep prices low, those X Series guitars, for example, use high pressure laminate (HPL) back and sides, multi-piece necks and Richlite synthetic fingerboards. Now, that might suit you, but if you hanker for a ‚proper‘ Martin-style solid-wood dreadnought, you’ll be looking at a DRS2 and a sizeable wad of cash at £799. Enter the Dread Junior. Like Taylor’s Big Baby, the Dreadnought Junior is 15/16ths of the size of that DRS2 or any other contemporary Martin dreadnought. In reality, it’s not much of a down-size: 360mm (14.2 inches) wide and 112mm (4.41 inches) deep as opposed to the full-size model being 397mm (15.6 inches) and 124mm (4.88 inches) deep. Factor in the scale length, which is reduced from Martin’s long scale of 645mm (25.4 inches) down to 610mm (24 inches), and the Junior looks like a perfectly proportioned, slightly diminished Martin. Unlike Martin’s own X Series, or indeed, the minimalist cool of Taylor’s Big Baby, the Dread Junior might be downsized, but it’s very grown-up in build, with all-solid wood construction, proper mortise and tenon neck joint, a bound top edge and simple soundhole rings. Internally, the X bracing and struts are finely done in classic style. Then there’s that headstock, again slightly downsized with regular small-button tuners and the all- important, and full-size, logo. The only nod to modernism, or indeed cost, in terms of the materials are the synthetic ebony Richlite fingerboard and bridge, which you’ll find on the more costly DRS2, and the generic ’select hardwood‘ specification for the neck, which looks like one-piece mahogany. But we have a full-size nut width and string spacing, also at the bridge, and a subtly V’d C shape to the profile, along with vintage-style small frets.
Style #7101 „14 fret“, Hollow-body, single-cutaway resonator, Materials: Steel, Finish: Antique Steel, Cover plate: Diamond, 14 frets to the body, 1 13/16″ bone nut, 25″ scale, 17″ body length, 9 1/4″ upper bout, 12″ lower bout, 3″ body depth, Round mahogany neck , Rosewood fret board, Hand spun aluminum „Continental“ cone, Quality open geared tuners, Dot position markers, Adjustable trussrod, Rosewood biscuit, Maple saddle W/Feather-lite/Durafoam Case
Epiphone’s first Masterbilt archtops quickly rose to popularity during the 1930s “Big Band” era and were renowned for their warm woody tone, wide tonal range and punchy volume. However, with the invention of the electric guitar pickup, archtop acoustic guitars quickly became equipped with magnetic amplification and were for the most part, forever transformed into “electric” guitars. Until now…
Epiphone, the leader in affordable professional archtop guitars, reinvents the archtop again by combining our original, time-tested designs with 21st century acoustic guitar electronics to bring you the new Masterbilt Century Collection™. The first collection of archtop “acoustic/electric” guitars designed to be played and amplified as true acoustic instruments. Just play one and you will immediately feel and hear the difference between today’s common “flat top” acoustic guitar and the unique voice of a Masterbilt Century. Plug one in and prepare to be amazed! Really. You have to hear it to believe it. Now with the eSonic™ HD preamp and Shadow NanoFlex™ HD Under-saddle pickup, you can plug in any Masterbilt Century archtop acoustic/electric into an amp or any PA and hear your guitar’s beautiful and dynamic true acoustic tone on any size stage. For flattop guitarists who have only played old plywood archtops, the sound of a Masterbilt Century guitars will be a revelation. Get ready for a totally new acoustic guitar experience! PRODUCT FEATURES Historic Epiphone Archtop Design with f-holes Solid Spruce Top with Longitudinal Bracing True Acoustic Sound with Sonic™ HD Preamp/NanoFlex™ HD pickup Ebony Fretboard Historic Tuners and Headstock Inlay Design SPECIFICATIONS Finish Aged Gloss Hardware Aged Nickel Top Solid Spruce; Longitudinal Bracing Body Laminated Flame Maple Body Dimensions Lower Bout = 17″ Upper Bout = 12.6″ Waist = 10.25″ Body Length = 21″ Neck 5-pc Laminated; Hard Maple/Mahogany Neck Profile Rounded „C“ shape Weight 5.75 lbs Preamp eSonic™ HD (High Definition) Controls Master Volume & Master EQ Pickup Shadow NanoFlex™ HD; Under-saddle Power 9 Volt Battery Output Jack 1/4″ Truss Rod Dual-Action Truss Rod Cover Black PVC „Bullet“; 1-layer Neck Joint Dovetail; Glued-In Fingerboard Ebony F’Brd Inlay Pearloid „Notched Diamond“ Headstock Historic Epiphone Dovewing with Pearloid „Banner“ logos Tuners Historic Epiphone Reissue Tuners with Marboloid „Crown“ buttons; Improved to 18:1 ratio Frets 20; Medium Nut Bone Nut Width 1.69″ (43mm) Scale Length 25.5″ Strings Cleartone®; 12-53 Bridge Floating Adjustable; Ebonoid Saddle Compensated; Artificial Bone Tailpiece Historic Epiphone Trapeze Binding Body Top – 3-Layer Body Back – 3-Layer Fingerboard – 1-Layer Headstock – None „F“ Hole – None Pickguard Imitation Tortoise Strap Buttons Yes Serial Number 1930’s Era Replica Soundhole Label
Style #605,Hollow-body, singlecone resonator, Materials: Spruce Top, back and sides, Coverplate: Diamond, 12 frets to the body, 1 3/8″ bone nut, 14 1/2″ scale, 10 3/4″ body length, 5 7/8″ upper bout, 7 3/4″ lower bout, 2 1/2″ body depth, Round mahogany neck, Rosewood fret board, Hand spun aluminum „Continental“ cone, Quality box tuners, M.O.P. position markers, Rosewood biscuit, Maple saddle W/Feather-lite/Durafoam Case. Included Schatten NR2 Passive Pickup.
Anyone who regularly plays acoustic rock, blues, country, or even jazz will get a real kick out of the Gretsch G5031FT Rancher Dreadnought acoustic-electric guitar. Part of Gretsch’s Roots series, this instrument gives you the timeless acoustic sound of a mahogany dreadnought bolstered by the electrified punch of an iso-chamber-mounted Fideli’Tron pickup. As a result, you’ll get both warm acoustic shine and electric-guitar punch from the G5031FT Rancher Dreadnought, making it a perfect choice for live playing and studio work as well. Deluxe tuners, gold-plated hardware, and beautiful binding and inlays as well all add up to make the G5031FT Rancher Dreadnought one mighty fine acoustic.
Unique dreadnought acoustic-electric guitar, based on classic Rancher guitars from the ’50s Tap into a wide range of articulate plugged-in tone with the Fideli’Tron humbucking pickup Unique pickguard and triangular soundhole creates a classic eye-catching look Scalloped X-bracing and arched spruce top enhances projection and tonal balance Compensated saddles help optimize intonation and tuning performance