The Taylor T5z Standard is a scaled-down version of the successful Taylor T5 line and their relationship is much like the one between Gibson’s 335 and 339 models.
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MORE →The Taylor T5z Standard is a scaled-down version of the successful Taylor T5 line and their relationship is much like the one between Gibson’s 335 and 339 models.
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MORE →Following in the traditions of American guitar building, the Santa Cruz OM-PW – the PW stands for ‘Pre War’ – delivers vintage style tone and playability. The OM-PW design dates back to the end of the 1920’s when the Martin Guitar Company introduced the Orchestra Model or OM. Very similar to the ‘OOO’ model, the key difference is in the scale length. The OM scale is over 25 inches, usually the same as the Dreadnought models, while the ‘OOO’ scale length is typically around 24.9 inches. Otherwise the bodies are the same.
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MORE →This William Laskin 12 string acoustic guitar dates to 1989 and was built in his shop in Toronto, Canada. It features a 16 inch wide non-cutaway body using Sitka Spruce for the top, Indian Rosewood for the back, sides, bridge plate and headplate, with Mahogany for the neck and Ebony for the fingerboard and bridge. The body binding is maple, with grained ivoroid binding for the fingerboard. The nut and saddle are bone, and the tuners are Schaller M6 mini units, enclosed with chrome plating. An under-saddle passive pickup has been installed and is wired directly to an endpin jack. William Laskin is one of the world’s premiere luthiers and is highly respected for his construction and inlay skills, as well as his abilities as a performer and promoter.
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MORE →This William Laskin classical guitar with Laskin armrest was built in Toronto during 2003 with Sitka Spruce and Indian Rosewood. This custom ordered guitar features Celtic Knot decorations on the headstock, fifth and seventh frets, using engraved Copper, Marcasite, and Mother of Pearl. In addition to the Knot markings, there’s a discreetly small copper triangle inlaid on the edge of the fingerboard marking the seventh fret.
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MORE →The Martin D18 Dreadnought appeared in 1931 as banjo players increasingly converted to guitar, and required ever increasing volume levels. For the first three years, the D-18 was built with a 12-fret neck, but the banjo influence quickly added two more frets clear of the body. As a 14-fret dreadnought, the D18 and its sibling the D-28 rapidly became the guitar of choice for country, bluegrass and folk players.
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MORE →The Martin D35 appeared in 1965 as builders adapted to changing Brazilian Rosewood supplies; the D35’s three piece back used panels too small for a two-piece back. By 1969, Martin had officially stopped use of Brazilian, though some occasionally appeared on D35’s as late as 1973, in favour of Indian Rosewood. Despite a false start – the earliest models had overly-braced backs that reduced volume – the Martin D35’s warm yet crisp tone rapidly gained popularity with bluegrass, country and folk guitarists, and singer-songwriters.
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