These are the three models I’m offering at the moment. Each one is available with either rosewood, or mahogany back and sides. The letter denotes the body style, and the number indicates the model year of the guitar it’s patterned after. Perhaps it’s no coincidence that two of the three best guitars I’ve ever played were built in 1937…
The concept for the ’37-D was inspired by comparative study of two guitars from 1937, D-28, #66278, and D-18 #67618. Both of these phenomenal instruments helped me to realize the philosophy behind the magical, forward X brace design that largely defines THE bluegrass sound in our aural imaginations. The ’37-D has the robust power and projection with a shimmering top end that is so widely sought after by flatpickers, and unlike many originals, it plays, tunes, and intonates perfectly in every position.
The design of the ’42-D, especially the unique top bracing pattern, came from one of the most impressive guitars I’ve ever played, a 1942 D-28, #80977. This guitar hit me in such a visceral way, it was interesting to find the tone bars slightly askance from the template lines. I incorporated these and several other quirks into the design for the ’42-D, a classic rear X braced,scalloped top typical of the early ‘40s. The result is a guitar with supreme clarity and a sparkling presence.
The ’37-000 was inspired by a nearly mint 1937 Martin 000-28, #66439. This guitar had a real magic about it, with otherworldly responsiveness, and an up-the-neck sweetness that still sticks in my mind. The ’37-000 excels equally as a flatpicker or fingerstyle guitar, with volume and bass rivaling many dreadnoughts. The forward X braced top boasts a very slightly different scallop shape, in an attempt to capture the refined depth and definition of this exceptional guitar.