Built in Montreal, the Paquet Esperanto 18 Archtop guitar is a full size, hand carved top and back model with large soundholes in the upper bouts.
This Maegen Wells archtop guitar is built using a traditional pairing of carved Spruce top with solid, flamed Maple for the sides and carved back. The body is 16.5 inches wide at the lower bout. The neck is birds-eye maple, with a bound Ebony fingerboard. The bridge, tailpiece, pickguard, tuner buttons, and heel cap are also Ebony.
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This 2009 Thomas Ribbecke Halfling archtop guitar was built especially for the 2009 Montreal Guitar Show, as an entry into the Red Collection grouping. It’s built with a carved Spruce top, carved Spalted Flame Maple back and matching sides, and Maple neck with an unbound Ebony fingerboard. The neck is a multi-scale with the center of its length being about 26 inches. There’s a large round soundhole on the top located on the upper bass bout next to the fingerboard and Bartolini pickup. Ebony is used for other components including the bridge, pickguard, tailpiece and truss rod cover. Mother of Pearl is used for the headstock Ribbecke and Halfling logos.
Popular during the 19th and into the mid-20th century, the Greek Laouto or lute contributed to the evolution of the now popular Greek Bouzouki. Though similar in many ways to the German lute guitar, the Greek instrument is strung with double gut or nylon strings in a variety of tunings similar to Bouzouki tunings. The role of the Laouto was usually as a backup instrument to a violin of bouzouki. The frets are tied on as on a Renaissance Lute. The tops were generally spruce and the back are bowl-back construction consisting of 20 or more ribs similar to a Renaissance lute
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The second guitar in the G W Barry 30/12 collection is a 000+ model featuring a Bearclaw Sitka Spruce top and deeply figured Hawaiian Koa back and sides.
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The first guitar featured in the G W Barry 30-12 collection is a stunning Mod-C with a splendid Ziricote back and sides set and a premium Lutz Spruce top.
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I came to Twelfth Fret with an all original 1967 Gretsch Chet Atkins Tennessean which I had purchased online. The guitar was barely playable, would not tune and was just a very expensive disappointment. After a consultation with Scott, he came up with a plan to see if this guitar could be brought back to life. After great communication, Scott put his skillful hand to work and gave me back one of the greatest guitars I have ever played!
I went from totally disappointed with this guitar, to it being one of my favorites. I don’t know how Scott did it, but unbelievable. Great communication throughout the process, incredibly skillful work, and most of all just a real desire on Scott’s behalf to bring this thing back to life as best he could. I went from having totally given up, to very boastful to own this guitar. Completely blown away.
Absolutely no hesitation bringing any future projections to Scott and the rest of the staff. Thank you so much!
