The Larrivee LV-03 Mahogany Steel String Acoustic Guitar is part of the Recording series, and uses the traditional Larrivee L body, drawn from the proportions of the Hauser style classical guitar. This gives it a very reliable, even tonal representation throughout the spectrum and plenty of volume when requested. The cutaway definitely adds to the upper fret accessibility.
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he Larrivee OM09 was built in Victoria, BC during 1994 and features a Sitka Spruce top and Indian Rosewood for the sides and back. The body blocks and neck are Mahogany, while the head plate, bridge and bound fingerboard are Ebony. The tuners are Schaller M6 models and there are no installed electronics.
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The Taylor 312ce LH is the left-hand version of the cutaway Grand Concert model with Spruce top and Mahogany back and sides. The body blocks and neck are also Mahogany, with Ebony used for the bridge and unbound fingerboard. The head plate is Indian Rosewood.
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The Taylor 914ce-L1 was produced as a Limited Edition during 2003, adding the Cindy inlay set to the stock Grand Auditorium model. The L1 featured Indian Rosewood for the back and sides, and an L3 version was also available with Brazilian Rosewood.
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Introduced in 1931 but not the first appearance of the Dreadnought, the Martin D-28 quickly rose to become one of the standard, benchmark guitars. From 1931 to 1934, the D-28 had a 12-fret neck, soon changed to 14 frets as banjo players migrated to guitar. Here we’re looking at a Martin D-28 built around July of 1958, with all of the standard features of that time. The top is Sitka Spruce; Adirondack had become unavailable by 1942 as war materiel demands led to overharvesting.
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Here is another rarity, a Martin 000-40SPR Peter Rowan “Midnight Moonlight” Signature Edition, built during 2001 as number 26 of 87. The Martin 000-40SPR Peter Rowan “Midnight Moonlight” Signature Edition features a Sitka Spruce top, Mahogany back and sides, Mahogany for the body blocks and neck, with Ebony for the pyramid bridge, headstock overlay and bound fingerboard.
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The Alhambra Menguel & Margarit Series C Concert Classical Guitar, built by master luthiers Jose Menguel and Javier Margarit, feature lattice braced tops and French Polish finish, with the highest quality materials used throughout.
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The Huss & Dalton DS12 Crossroads Slope-Shoulder Dreadnought is an outstanding guitar, showing all the power and richness of the dreadnought design. This example was built during 2019 in Staunton, Virginia and is in very good clean condition.
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The Collings MF is a visually simplified yet extremely high quality instrument, based on the classic F style carved top and back mandolins from the early years of the Twentieth Century. Building in Austin, Texas, Collings produces very well built guitars and mandolins, and their nitrocellulose lacquer finish quality is second to none.
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The Alhambra Mengual & Margarit C Series Concert Classical Guitar, built by master luthiers Jose Mengual and Javier Margarit, feature lattice braced tops and French Polish finish, with the highest quality materials used throughout. Two versions are offered by The Twelfth Fret, with Red Cedar or European Spruce for the top. The Alhambra site lists only the Cedar version, as seen here in this 2011 example.
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Built from 1991 to 2003 in Memphis, the Gibson ES-135 P100 was a single florentine cutaway, semi-hollow thinline with a pair of P100 hum-cancelling pickups. From 1956 to 1958, the ES-135 existed as a renamed ES-130, a full-depth, single-cutaway archtop with one or two P-90 pickups. The ES-130 was introduced in 1954, renamed in 1956 to the ES-135, and discontinued in 1958.
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Here we have a Gibson J-185 Jumbo bodied steel string in Antique Natural finish, built during December of 2003 at the Gibson Acoustic plant in Bozeman, Montana. The J-185 is a very good but likely under-appreciated guitar, being overshadowed by the better known and slightly larger J-200. Currently, the available version is the J-185 Original.
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Hand built in New Jersey, the Louis Electric HD12 combines two late 1950s Fender circuits (Tweed Deluxe and Harvard) into one great sounding and practical amp. This compact combo amplifier uses a pair of 6V6 output tubes to deliver 18 watts through a single 12 in speaker, in this version by Jupiter Condenser Co.
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This Nice Rack Custom Blues Pedalboard is one of a pair of purpose-built units, created and basically never used. While this board was built for a Blues project, the other board – listed separately – was aimed at a Cover Band project.
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This Nice Rack ‘Cover Band’ Custom Pedalboard is one of a pair of purpose-built units, created and basically never used. While this board was built for a ‘Cover Band’ project, the other board – listed separately – was aimed at a Blues Band project.
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This is a 2012 blonde Allen Chihuahua Head paired with a Suhr Celestion Vintage 30 112 Cabinet, in very good clean condition and currently set up with a 6L6 power tube for 10 watts output. Optionally, a 6V6 can be used to reduce power to 6 watts. It’s also fitted with an Accutronics reverb tank.
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The Fender Custom Vibrolux Reverb Professional Tube Amplifier, built from 1995 to 2013, was part of Fender’s Professional Series, designed by the Custom Shop and built in the Fender factory. It is based on the Blackface versions of the classic 35 watt, 2×10 speaker Vibrolux Reverb, and uses a pair of Jensen speakers. And it comes stock with tilt-back legs! This example dates to 2006 and is in very good condition.
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The Fender Super Reverb was built from 1963 to 1982, and was one of Fender’s physically largest combo amps – though in terms of raw power output, the most powerful combo was the Twin Reverb. The Super Reverb delivered 40 watts as ‘Blackface’, then 45 watts as ‘Silverface’ and ultimately 70 watts for models after 1977, all through four ten inch speakers.
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Evolving from one of Leo Fender’s oldest designs, the Fender Deluxe Reverb 1968 “Silverface” introduced updates to the ‘Blackface’ models that had gained Reverb and Vibrato. However, in 1968, not many changes had been made to the Deluxe Reverb to take it away from the ‘Blackface’ circuitry; at this point most changes were cosmetic.
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The Fender Twin Reverb Master Volume model was based on the Twin Reverb, launched in 1963, itself based on the Twin Amp that started its evolution with the 15-watt 1952 Twin.
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The Vox AC30/6TB Combo Amp was built from 1994 to 2004, just after Vox ownership passed from Rose Morris to Korg. Here, we’re looking at a good condition Vox AC30/6TB built during 1999 in England, under the ownership of Korg; the amp itself was built by a well-known contractor.
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REDUCED Taylor 914ce-L1 Natural, 2003
Martin D-28 Brazilian Rosewood Natural, 1958
⚌Reduced‼ Gibson MHB Roy Orbison ES-335 Black, 2006
❌SOLD❌ Steinberger L2 Fretless Bass, 1982
❌SOLD❌ Martin Style A Mandolin Natural, 1936
SOLD!‼ Linda Manzer Custom Cutway Steel String Guitar, 1980
⚌Reduced‼ Taylor 312ce LH Left Handed Natural, 2006
NO LONGER AVAILABLE!!! Douglas Scott Concert Classical Guitar, 2008
