The Grand Candy, an acoustic of big sound and balanced tone. This guitar is based upon the Taylor Grand Auditorium, but recalls the shape of the Martin 000-18. It comes in a variety of tone woods, from Fiddleback Maple to Sapelle Mahogany and Oregon Myrtlewood to Honduran Rosewood.
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The Small Bodied 12. Who says a 12-string can't fill a room with sound without being setup on a jumbo scale? While working for Breedlove Guitars, I built this small bodied 12 with a soft cutaway after the Breedlove SC-22, it was in Mahogany with a Redwood top. Everyone who tried it out were shocked such a small instrument could boast such a big sound. I build all my 12-strings in Mahogany and switch out species for the top to produce the right sound for my clients: Sitka for a crisp sound, Redwood for the earth, and cedar for the ethereal.
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The Nashwood “Djangolin” is inspired by the famous guitar designed by the Italian builder Mario Maccaferi for Selmer of France, and immortalized by Django Reinhardt in the development of Gypsy Jazz. Like the Selmer, the “Djangolin” has a steep radius on the top and bottom, making it less a “flattop” and more a domed top instrument. The bracing, like Selmer’s Gypsy guitars, is based upon the Neopoleton Mandolin which runs perpendicular to the grain of the instrument’s top and is often called “ladder” bracing. The bridge is placed at a structural fold called the “pliage”, which allows a great deal of string tension and in turn gives the instrument it’s punch and volume. Two attributes I felt were ideal for mandolin construction. These instruments have all the character, tone, response of a Gibson F-5.
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The nashwood 00-18. My step father was a guitar player. In 1960, he walked into Riley's Music in downtown Walnut Creek, California to buy himself a guitar. He kept going back to this acoustic Martin 00-18 which had been made a few years earlier. Needless to say, he bought that guitar and played it everyday for 45 years, until his hands were worked by arthritis. It always had a warm tone to it and was very playable. Some of my early fascination with guitar making hovered around this old Martin. After he passed away in 2012, I dusted off the old case, took off the old strings, set-up the instrument, dressed the frets and polished the guitar. The result was a realization that if I built anything like the 00-18, it should be just like the 00-18 with my own sense of voicing and appointments. I faithfully follow the specifications of this guitar and provide it in a number of tone woods: Honduran Rosewood, Honduran Mahogany and Sapelle Mahogany.
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