This is a Framus Diablo Supreme in Satin natural finish, built during 2010 in the Warwick shops at Markneukirchen Bavaria. Though the designation didn’t exist when this example was built, Framus soon after identified these guitars as Masterbuilt. This guitar is in very good, clean condition and features an AAA-grade book matched Maple cap on a Mahogany body and a Mahogany neck with Indian Rosewood fingerboard.
Seymour Duncan
Here we have a Russell Lackey LT1 T-Style guitar, built near Toronto by a former craftsperson at The Twelfth Fret Repair shop. The Russell Lackey LT1 shown here is Russ’s interpretation of a great classic. The LT1 strongly resembles the guitar that inspired it, but with a few changes, feeling that the market didn’t need another vintage reissue.
The Godin 5th Avenue archtop model was introduced at the 2008 NAMM show, it was a surprise hit given that this type of guitar has been seen on fewer stages since the early 1960s. Since then, the 5th Avenue has been seen in a number of variations with different pickup configurations, with and without Bigsby True Vibrato tailpieces, with and without cutaways, and in a host of finishes. Seen here is the Godin 5th Avenue Edition Speciale PT sporting an Indigo Blue finish.
The Godin Summit Classic HB is derived from a classic design, and offers a chambered Spanish Cedar body with a carved Maple cap. This example was built during 2016 at the Godin plants in La Patrie and Richmond, Quebec. It’s in great condition with very little wear.
Here we have a very nice Harrison GB Custom with Sapele Pomelle top, built at Douglas Harrison’s shop in Toronto Canada during 2013. Originally the outgrowth of a guitar custom built for the late Gary Benson, a well known Toronto jazz guitarist and educator, the Harrison GB has proven itself popular with an increasing number of players – including Harrison himself at his own gigs!
The Eastman T59 V is a take on one of the most successful and influential of Ted McCarty’s innovations, the thinline, semi-hollow archtop electric guitar. Around 1957, Gibson was looking to update its product line to address a number of issues, one of which was the rise in amplified stage volumes causing feedback. While the engineering team is credited with most of the design, it was apparently president Ted McCarty’s idea to put a solid Maple block through the center of the guitar.