Search results for 'Left handed acoustic guitar'

This is vintage 1976 Martin D-35 in excellent, all original condition Learn More

This is a Raven solid body electric built in Korea. It is a very high quality instrument built in the style of PRS guitars. The specs and feel are very similar. The guitar is in excellent shape. The neck is fast and straight and action is nice and low. Features and specs are as follows: Mahogany Body Quilted Maple Top Mahogany Set Neck Rosewood Fingerboard Pearl Abalone Crown Inlays 24 Medium Jumbo Frets 24 3/4" Scale 1 Vol, 1 Tone, 1- 3 was switch Gold RW Hardware Dual Humbuckers Learn More

This rockin’ archtop cutaway with Bigsby® tremolo is enough to satisfy all of your rockabilly, blues-rock, and/or shoegazer dream rock fantasies! It features a pair of Custom Godin Humbucker pickups delivering a load of serious tones, all controlled via a 3-way toggle switch and volume & tone knobs. The Gloss Tops (GT) are paired with semi-gloss back & sides that deliver a stunning aesthetic look to the guitar that is second to none! Learn More

DJR-10 The Dreadnought Junior is designed for players looking for big Dreadnought sound in a slightly smaller body. The DJr-10 features satin finished sapele back and sides in a rich cherry hue, an option of satin finished Spruce or Sapele top, and a hand-rubbed neck with a high-performance taper. This model also sports a thinner 000 body depth with softer back edges to provide maximum comfort while playing. Every Junior includes a soft gig bag for easy transport. Learn More

This a 1996 Custom Santa Cruz OM featuring Brazilian Rosewood back/sides, German spruce top, Advanced X bracing, 42 style fingerboard inlays (abalone rosette, top purfling and fingerboard extension) Brazilian headstock overlay with Torch inlay, and Gold Waverly tuners Learn More

This gorgeous Custom features Macassar back & sides, amazing Sinker Redwood top, Ebony Armrest and binding and Venetian Cutaway. Learn More

Carved Spruce top, solid carved mahogany back and sides with Rosewood bridge, tailpiece, pickguard and fretboard. Vintage tone with superior midrange and volume. Classic Non cutaway Learn More

This is a 2009 Stehr 00-12 with all the bells and whistles, full specs are as follows: 00 12-Fret Body Soundboard: Sinker Redwood Back and sides: Macassar Ebony Macassar Binding, Fretboard, Headstock and Bridge: Rosette: Paua Burl Neck material: Mahogany Lower bout: 14 7/8" Upper bout: 10" Waist: 8 1/4" Depth: 4 1/8" Length of body: 19.5" Overall length: 39.25" Scale length: 25 3/8" Nut width: 1 11/16" Saddle spacing: 2 1/8" Electronics: K&K Mini Burle Fret Markers Side Soundport X Brace, Forward Shifted Carpathian Spruce Learn More

Note that this guitar is the actual one listed on the Eastman Guitars website! “Salt Air, Dry Brush, Ocean Waves, Misted Forests, Weathered Boulders. Our home, California, inspires the design that sculpts the shape and timber that make D’Ambrosio Series.” The Eastman D’Ambrosio Series, designed and built in California, pays homage to the enduring Golden State tradition of innovating right to the edge. With beautifully worn curves echoing the coveted coastline and a player-centric design, the D’Ambrosio Series may feel comforting and familiar. However, these are unique instruments where innovation blends with tradition. When something new also feels reassuringly familiar in an old-fashioned way, you know you’ve found a new home. D’Ambrosio guitars carry on the heritage of matching California design with down-to-earth playability. Introducing the 
FullerTone Neck
 MORE TONE, More Sustain, More Stability At the heart of D’Ambrosio Series design lies a beautiful innovation: the FullerTone neck. Envisioned and brought to life by master luthier and head of design, Otto D'Ambrosio, this completely new long-tenon, 2 bolt, neck to body connection redefines industry standard. The body-to-neck joint is the most important connection on a guitar. It acts as a bridge of energy; transferring resonance, sustain and tone while providing stability to the guitar. The FullerTone neck fulfills this ambition, securing unprecedented three-times greater neck-to-body contact for unhindered resonance transfer. The gracious body geometry cradles the neck in perfect harmonious position, secured by two machine-threaded screws locked into steel anchors embedded in the neck. The complete design is a fusion of old-world craftsmanship and modular versatility—the first bolt-on neck tuned to rival the sustain and stability of a set-neck guitar. With the Fullertone neck, Otto’s vision for a guitar with seamless tonal continuity, from headstock to bridge, is fully realized; maximizing its tonal potential. We call it T.S.S: More Tone. More Sustain. More Stability. Beautiful Tonewoods Tell Stunning Stories Swamp Ash and wildfire-burned Phoenix Pine serves as the heart of D’Ambrosio Series. Wildfire-burned Phoenix Pine is one of two tonewoods that serve as the heart of D’Ambrosio Series Roasted Phoenix Pine, salvaged sustainably in the process of regenerating the Oregon wilds, is given a second life, with a controlled heat treatment granting complexity - modern era clarity with smoky overtones. Learn More

This is the Custom Shop edition of Eastman's AR905CE with Gold Lollar Johnny Smith Pickup, custom setup and fretwork, and master grade solid wood inlays all done by Eastman's master luthier Otto D'Ambrosio . Fans of traditional or modern jazz will feel right at home with our handcrafted take on archtop guitars. We’ve brought classic designs to life and into the hands of legendary players like John Pisano and Frank Vignola. Eastman offers three different construction options with three different sounds and functionalities. Learn More

The double cutaway Starfire series was introduced in late 1963 beginning with the Starfire IV and Starfire V. The Starfire VI followed in 1964. These guitars were made to capture part of the market that was almost exclusively enjoyed by the Gibson ES series guitars. Like the Gibson ES-335, the Starfire IV has a center block of wood that runs from the neck to the tail and is glued to the top and back. This reduces feedback and increases sustain. Up through 1967 the neck was joined to the body at the 16th fret. After 1967, the neck-to-body joint was moved to the 18th fret to facilitate better access to the upper registers. Learn More