The Larrivee J-05-12 follows the successful Jumbo 12-string design, used to great success by Guild and based on the Gibson super jumbo body originating in the late 1930s.
This C. F. Martin 000-18 custom shop model dates to 2015 and uses higher grade figured woods and subtle decoration to improve on a classic design. The first samples of the 000 body date to 1902, and one 000-18 was built, using Maple for the back and sides, during 1906. In 1911, three were made, and by 1923 sales numbers started to increase into the hundreds. In 1933, 14-fret necks started to appear and soon became standard.
Here’s an interesting instrument – From C F Martin, the 00-42SC John Mayer model, which replicates a Stagecoach or early Travel Guitar! This spectacular instrument combines a 00 size body with Sitka Spruce and Cocobolo, and adds ’42’ series inlays and appointments. A 12-fret neck and slotted peghead are used to keep the dimensions down, keeping in mind that the SC designates that these originally were designed to be used as entertainment on stagecoach journeys (or perhaps ordeals).
This David Wren Concert guitar, built during 2012 and using a very nice Bearclaw figured Sitka Spruce top and Brazilian Rosewood for the back, sides, and headplate. One of Canada’s premiere luthiers, David Wren started work with Jean Larrivee in the early 1970’s. He’s been working from his own shop for decades, with spells at the Millwheel on Yonge Street and as part owner of The Twelfth Fret. Wren Guitar Works is now a standalone shop in Toronto’s east end.
Built from 2009 to 2016, the C F Martin DCPA1 Plus starts with a full sized, cutaway dreadnought body. A Sitka Spruce top is paired with Indian Rosewood for the back and sides. The neck is Mahogany, with Ebony used for the bound fingerboard and bridge. The headplate, which carries a vintage-style C F Martin logo in Puau, is acrylic. Puau or Abalone is also used around the soundhole.
This instrument has sold
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This new bracing style increases dynamic response, sustain and volume and improving harmonic agreement. What ‘Harmonic Agreement’ means is that this bracing helps bring the harmonic overtones produced by various notes into line, causing chords to sound more in tune. Overall the revised Taylor 314ce V-class Grand Auditorium uses the same proven design formula – a solid Sitka Spruce top paired with solid Sapele back and sides, Mahogany for the neck and body blocks, and Ebony for the bridge, headplate, and bound fingerboard.
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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!
