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a rich and round-sounding
cutaway
2007 Howard Klepper 'Cocobolo Cutaway'
"Howard Klepper handed this guitar to me with a smile at the NAMM Show in Anaheim,
California recently. Howard was smiling because he knows what I like...and what I was about to discover. Even though I took to this instrument personally, many of you know how irrelevant I feel that is when I show a guitar to a
client. This is about your choice--not mine. That being said, I would be surprised if there were no others out there that valued what I value in an instrument. So--read this, keep your ears and eyes open, and take this
with an appreciative grain of salt: This is a great guitar that is fun to play. When I play this guitar, I don't have to work to make the music. Music happens with this guitar. It is not exactly like my own Klepper, in that it
does not have any resonator qualities that I can tell. It is a 'woody-yet-modern' tone that is full-bodied and quite rich. The clarity is well utilized for both flat picking and fingerstyle. Howard's 'Signature' package, with all
the tasty Klepper marquetry, purfling, and multiple tasty contrasting colors appeal to the eye candy lovers, as well." Here is the Maker's description of the instrument's specs: "Cocobolo back and sides with big curl in
the quartersawn back. The small sapwood eye in the center of the back is, I think, a good illustration of how 'less is more' when it comes to using sapwood for visual effect. Adirondack red spruce top, with red-brown sunburst.
The five-piece neck is of mahogany, maple, and curly walnut. The cocobolo theme is carried over in the bridge, fretboard, and front and rear headstock veneers, with the front veneer being bookmatched with a sapwood center.
Redwood burl rosette and end graft; wenge binding and heel cap; bone nut and saddle; Sperzel tuners. The purlfing is a custom batch made from curly maple and thin rust- colored veneer. The nut is 1-3/4", and the 12th fret
width and string spacing at the bridge are 2-3/16", with a compound radius fretboard. This is 1/16" less flare than a Martin board (1-3/4" to 2-1/4"), but is exactly the measurements that Bob Benedetto uses as
his standard, and I believe is also the standard for many of the guitars at Breedlove." Richard here, again--"I believe it is a good thing to hear the Maker's description above, as some of you may be familiar to the
Martin and Breedlove references if you owned one and are now in the process of moving up to a more preciesion, hand made guitar. Here is an important note that you will find repeated in the next Klepper guitar listed below this
one: If you anchor your little finger on the soundboard as you do your fingerstyle playing, this may not be the guitar for you. The neck is both elevated and cantilevered on this instrument. This puts more space between the top
and strings. Many players love the look and the role this plays in the sound. The increased upward pull on the top tends to increase sustain. The cantilevered fingerboard extension ensures that the fingerboard does not touch the
soundboard so it is freer to vibrate. One day we will reminisce about when you could get a Klepper like this for under $8,000!"
$6,750 with tweed hard
case
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a powerfully
rich '0'-size 12-fret
2006 Howard Klepper '0' (Brazilian rosewood)
If you crave a smaller guitar to curl up with on the sofa--but still want
the volume--here is a candidate for you to consider. With Howard's 'Signature' package included, all the tasty Klepper marquetry, purfling, and assorted sexily subtle details that appeal to wood lovers are here. In our opinion
here at FGC, it is the sound and playability that most often separates the single hand-mades from the factory assembled guitars. If you anchor your little finger on the soundboard as you do your fingerstyle playing, this may not
be the guitar for you. The neck is both elevated and cantilevered on this instrument. This puts more space between the top and strings. Many players love the look and the role this plays in the sound. The increased upward pull on
the top tends to increase sustain. The cantilevered fingerboard extension ensures that the fingerboard does not touch the soundboard so it is freer to vibrate. The soundboard of this guitar is Swiss Alpine spruce. This 12-fret,
O-size guitar has Brazilian rosewood back and sides, as well as a Brazilian rosewood bridge. An ebony fretboard is subtly decorated with mosaic pin inlays. Pin-point metal work on the side position markers and bridge pin tops tie
in nicely. Sweet detailing. The guitar is bound in koa. The three-piece mahogany and walnut neck has a backstrapped, slotted headstock with Brazilian rosewood front and back headstock veneers. (The term 'backstrapped' refers to
thin wood veneers that are glued to the back of the headstock. These veneers are then hand shaped along with the neck, adding beauty as the layering is revealed in the contours at the neck/head joint. More importantly, there is
added strength lent to the guitar at one of its critically vulnerable junctures.) An original Klepper design: three-color herringbone purfling, and a herringboned pearl rosette. The saddle is bone; the nut and endgraft are ivory.
The nut width is 1 3/4". The scale is a slightly shorter 24.9". A micro-thin clear pickguard partially protects the top from STDs (Sloppy Top Dings).
SOLD
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a 'Gallia
Junior?'
2004 Howard Klepper 14.5" 12-fret guitar
Released in 2008 for the first time, Howard Klepper held this one back until he was
happy with just the right voicing for this instrument. Sometimes great things need extra time. This instrument is a great thing! Another Show quality instrument with Klepper's 'Signature' package, the tasteful Klepper
marquetry, purfling, and attractive wood design details are present and accounted for. The sound and playability characteristics are superbly haunting and beautiful. Well suited for Fingerstyle soloing and Jazz, a slight
resonator-like tonality can be detected in the trebles. The rich and full basses provide a tonal contrast that is subtle and adds a color separation that perfectly enhances soloing. I have not encountered this quality since my own
Klepper guitar (Gallia) that I have described on this site. As with the Klepper guitar above, the neck is both elevated and cantilevered. The increased upward pull on the top tends to increase sustain. The cantilevered fingerboard
extension ensures that the fingerboard does not touch the soundboard so it is freer to vibrate. This 12-fret, mid-size guitar features an extraordinary set of old growth, straight-grained, quartersawn and flitch-matched Brazilian
rosewood mixed with quartersawn African Blackwood. The Brazilian rosewood has an unusual 'birdseye' figure. Howard used a second side set from the same flitch in order to bookmatch the sides from front to back as well as from side
to side. The sides are a double thickness for rigidity, strength, and tone projection. Between the Brazilian rosewood and the African blackwood is custom half-herringbone purfling. The soundboard is master grade Swiss alpine
spruce. The neck is a 5-piece laminate of mahogany, walnut, and curly maple, with 'backstrapped' layers on the rear of the headstock. Both the front and rear outer layers on the headstock are bookmatched and flitch-matched from
the same Brazilian rosewood flitch as the sides and back. Other details: ebony fretboard and bridge; snakewood binding; buckeye burl rosette and end graft; wide green abalone top purfling, and green abalone purfling on the end
graft. Ivory (legal pre-ban) nut and bone saddle. Hand turned ebony and pearl strap buttons, and hand turned ebony side sound port trim ring. The 14.5" body has a 12th fret neck joint and recurved sides. The neck is a little
wider than his standard. The nut width is 1 23/32 Bridge pin spacing is 2 5/16". Scale length is 24.9". The 'Klepper' style bracing is the same style as my Gallia (a 16" version), and results in a uniquely loud,
lyrical, and resonant tone.
Howard Klepper says, "I gave this one the best of everything I have."
$12,000 with hard case
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a quietly important announcement:
2004 Boaz
Elkayam 'Clarita Negra Steel' string Serial #1
Until now, this guitar has been held for private showings. The sound is pure 'Pavorotti.' A round tone with richness
and open sounding power--yet great sensitivity. This is a unique evolution of advanced guitar construction. The Clarita Negra classical guitars have turned heads for years. We have examples on our 2 Classical Lists. My recent
'Flat Top Talk' column in 20th Century Guitar magazine featured this guitar as the 'Flat Top of the Month.' Here's some descriptive words from the review: "Boaz is a third generation luthier, living in Northern Israel.
Working with non-powered hand tools, Boaz combines cutting edge acoustic science with age-old lutherie approaches to his construction. Following an evolutionary path to the present from the work of Richard Schneider and Dr.
Michael Kasha, Boaz has taken his experience in working with his 'flagship,' the Clarita Negra (nylon Classical guitar), and moved the powerful and musical sound experience from that platform over to the world of flat tops. You
know that I have experienced many of the finest hand made guitars. It's my day job. To say that this instrument is remarkable would be an understatement. Don't think for a moment that it is 'the best guitar.' I don't agree with
that thinking. Guitar choices are personal and a loud and responsive instrument like this one is probably not a good choice for a casual player with a 'loose' style of playing. This guitar is very articulate and non-forgiving.
Highly musical and sweet, every nuance and harmonic comes through on this instrument. It seems to have a tonal range that extends above, below, and beyond most guitars." Other hidden appointments include internal proprietary
systems for making the neck immovable. No truss rod necessary. Weather and humidity changes will not affect the geometry. The sound is hauntingly beautiful and emanates from a wide-mouth port under the player's chin--as well as a
smaller port on the upper right bout on the face. "We should thank Boaz for introducing this $16,000 guitar at the $12,000 price level for its introduction period. Those who choose to afford this experience are in for a
guitar sound in 'High Def.' This is a good time to introduce Boaz's philosophy related to his finishes. If you have interest in his unusual and logical thinking, click on this
link."
$12,000 (SOLD--#2 and #3 are coming soon)
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another majestic steel string
2007 Ervin
Somogyi 'Modified Dreadnought' 'Lucky 12' 12-String Available!
For those of you have have never heard the name Ervin Somogyi, our world of fine
hand made instruments may be new to you. We represent Somogyi's work proudly. One of the top makers in our field, Ervin Somogyi has taught generations of guitar makers that have gone on to their own successful careers. He is
indeed a Master Luthier. The guitar pictured here was recently completed. Those of you who read the article on Fine Guitar Consultants in Fingerstyle Guitar magazine, Issue #60, may remember a shot of this instrument while it was
under construction. This 12-string features one of our 'Lucky 12 Soundboards,' from a singularly unusual Sitka spruce tree that was partially submerged and thus well seasoned for many years.
Our client who commissioned this guitar chose to upgrade to one of these 'Lucky 12' tops when ordering his Somogyi through us here at FGC. You can upgrade to a 'Lucky 12 Soundboard' when you
order a guitar from FGC by any maker that we represent. Aside from the beautiful double figuring (full curl and bear claw--never seen before on the same soundboard in combination, as far as we know) the tonal
properties of the wood are first rate. Tone is everything. When you listen carefully and develop preferences, it is hard to 'go back' and settle for less. The tone of this Somogyi guitar is richly majestic. It is also responsive
to soft playing and is articulate in its separation--especially critical in a 12-string. Fortunately, a 'Lucky 12 Soundboard' guitar can cost as little as $4,000; this one is from the higher dollar category. The back and sides are
of Somogyi's top grade Brazilian rosewood. Another option featured on this guitar is the 3-dimensionally carved rosette. Ervin carves these intricate patterns with exacto knives and scalpels, while literally creating new artistic
techniques in the process. This is what he does for relaxation after a full day at the bench. He carves the rosettes at his kitchen table. Some people knit--Ervin, knits not. If you love the sculptural arts, what a thrill to have
a design of your choosing incorporated into the guitar of your dreams! Call Richard to discuss a custom Somogyi. When this instrument was completed, Ervin commented, "This is the most powerful 12-string I have made to
date." The guitar is a powerhouse according to its owner, who has now purchased two Somogyis from FGC. A footnote: Due to personal circumstances, the owner of this guitar must re-sell this instrument, as well as his 6-string
Somogyi. Call Richard to take advantage of a rare opportunity to own beautiful Somogyis without the wait!
$29,800 with Deluxe Calton case (base price for a
Somogyi is $25,000)
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a New 'Lucky 12'
Masterpiece
2008 Ervin Somogyi 'Modified Dreadnought' 'Lucky 12' 6-String Available!
FGC may be the only place in
the world to have three stellar Somogyi guitars available for sale. We are so happy to have these choice instruments available for our clients. This new guitar was recently strung up for the first time and shortly after, shipped
to the 2008 Newport in Miami Beach Guitar Festival where Richard gave his workshop on 'Choosing the Right Guitar For You.'. "Richard here...Here is a photo of me having the first notes
on this guitar at the Fine Guitar Consultants table at the Festival. The 'Lucky 12 Soundboards,' have a special story of their own. We commissioned this guitar and chose to upgrade it
with one of these 'Lucky 12' submerged, Sitka spruce soundboards. I shipped ten soundboards to the Maker, and he selected one for this guitar and one for the 12-string instrument listed above. (Consider owning both as a pair
to cover all your musical cravings!) Another special departure from a typical Somogyi approach, was the custom shaping of the neck. A Somogyi neck on a cutaway Modified Dreadnought tends to be broader
and fuller in the upper portion as it joins the cutaway. When Ervin does a cutaway, he likes a smooth transition in this area with no protruding jog as it wraps in to the curve. The trade-off can be less comfort in the upper neck area.
From my past experience both owning and commissioning Somogyis for and with clients, I made my choices carefully on this guitar. Because of Somogyi's low heel design, a cutaway is less important than it may be to players on other makers'
instruments. This 14-fret non-cutaway Modified Dreadnought has plenty of access to the upper frets by virtue of the design alone. Also, I was able to have a more uniform feel to the neck all the way up its length. The guitar is more
playable and more fun to play as a result, in my opinion. In addition to the comfy medium-C shape, I asked Ervin to slightly round the edges of the neck to facilitate wrapping the thumb around the guitar occasionally. The nut width is
1 13/16". Perfect for fingerstyle articulation and more comfort for fingertips that need a tiny bit more room to flatten against the ebony fingerboard. Small accomodations like this make a big difference in playability. In that regard
as well, this instrument is a success. The tone of this Somogyi guitar is as anticipated. Though the guitar is new, the power and balance are there. The tone is richly elegant. Even timbre across the whole spectrum. The back and sides are
of Somogyi's top grade perfectly quarter sawn Santos Imperial Brazilian rosewood. Another option featured on this guitar is a 3-dimensionally carved rosette that is currently the most complex design Ervin has ever accomplished. It is a
stand-alone piece of fine art that has been perfectly integrated into the instrument. The artwork, and the soundboard itself, is protected by a beautiful hand-rubbed French polish finish. The back and sides are high gloss nitrocellulose lacquer.
Another first on this instrument is the side sound port. Not shown in the photos is a hand carved ebony and cork plug with a 'Japanese design feel' to optionally close off the port. This is the first sound port that Ervin Somogyi
has done on a guitar. He and I agree on the outcome. There is a subtle and pleasant presence of sound that treats the player's ear. The player's perspective and experience are enhanced, but not at the expense of the sound out front. If you want
to adopt a single lifetime instrument to play all your 6-string acoustic music, I highly recommend the approach of attaining one great instrument over a collection of a half dozen lesser guitars. This guitar is so special and so above many of
the fine guitar experiences I have had, I consider this a guitar from Another Realm!!" --Richard
$31,400 with Deluxe Calton case (base price for a Somogyi is
$25,000)
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Invest in Your
Music; a 'Blue Chip' steel string
2000 Ervin Somogyi 'Modified Dreadnought' cutaway 6-String Available!
A resale Somogyi?
Unheard of. Yet, for reasons explained above, here is a truly great one. "Richard here, with the 'back story: I commissioned this guitar for our inventory in the late 90's. It was finally completed in 2000 and hand delivered
to me at the first Saint Louis Guitar Show by the Maker. A good client--who has become a friend--talked me into parting with it within 24 hours of FGC receiving it. I shipped it to him the next day. His circumstances called for
passing the guitar on through us a couple of years later. We resold it to another good client who now must sell it soon. This guitar is solid, powerful and articulate. It has the ability to put across music with a very attractive
personality of its own. It has the legenday headroom of a top Somogyi guitar with the sensitivity to play beautifully with a softer touch, as well. It has all the desirable mechanical characteristics of a Master Luthier-made
instrument. The setup is dialed in immaculately. There is a little reasonable playing wear, but nothing that will jump out at you--as the photos show. It is clean and being offered at a realistic price that is below its market
value or its perceived value. Some specs: The nut width is 1 13/16", friendly to bigger fingers or firgerstyle players who like a little extra room to articulate the tricky parts of today's more challenging repertoire. Scale
Length: 25.4". Fretboard and bridge: ebony. Back of neck and headstock--as well as rosette ring are spalted maple. The success of this design over the years is owed to the waist being shifted for comfort and increased
soundboard area in the 'business end' of the guitar near the bridge, where the soundboard moves the energy of your attack through the instrument. The intense BirdsEye maple has a subtle damping effect on the reverberant sound box,
making the notes more focused through the generous volume the guitar can generate. The guitar is set up with medium gage strings and low action. It is in the 'fun zone.' Fun to play, fun to listen to, and seductively a candidate
for a lifelong companion. If you are lucky enough to get this guitar--you don't need any others. Want? That is always another story! The soundboard is well-seasoned Sitka spruce with charming double birth marks in the form of
decorative dark little lines. Ervin used the motif which complements the linear abalone fretboard inlays, supplied by me through Banjo maker Renee Karnes and her friend's Rescue Pearl company. I asked for abalone pieces that had
the most red highlights for the rosette and the fretboard adornments. When Ervin completed the hand inlay work, he told me that it was a 'Royal Pain in the Axx' to align the pieces like a jigsaw puzzle. Though the work was a bit
frustrating for the Master, he admitted to me that when it was complete it was very satisfying. He said it was one on the nicest inlay jobs of its kind that he had ever accomplished. It felt good to hear that Ervin was both
challenged and pleased. The guitar has a very nice sounding pickup of unknown manufacture. The sound is even and balanced. The price to duplicate the specs on this guitar today would be considerably more than this price. Consider
it a gift to you for your music and your artistic appreciation. Forever. A rare opportunity to own a beautiful Somogyi without the wait!
$22,700 with Deluxe
Calton case (base price for a Somogyi is $25,000)
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2001 Michael Lewis 'Healdsburg' acoustic archtop, s.n. #150
A client and friend bought this now loud and open archtop from us after the Healdsburg Guitar Festival of 2001. He traded this Lewis archtop to us for another Lewis with set-in pickups designed for his
increasing ensemble work. This 17" with a 25" scale has a nut width of 1 11/16". Gold-plated Waverly tuners with ebony buttons compliment the Art Deco motif of the headstock. Parts of the headstock and truss rod
cover along with the entire fretboard, adjustable bridge and pickguard are made with a stabilized spalted wood that exhibits 'spider webbing' in beautifully contrasting streaks. Multiple Ivoroid and black bindings frame the
headstock, neck, fingerboard, sound ports and body edges, front and back. These are fine details that show off Michael's abilities as a luthier. Though not overpowering, these elements integrate well with the design of the guitar.
The soundboard is beautifully hand carved spruce with bound, open sound holes that suggest the shape of a feather. Michael did a functionally quiet brass tailpiece that lends a subtle metallic crispness to balance the woody tones
of the guitar. The tone is loudly sweet. The traditional back and side material is a flamed domestic maple of nice intensity. Michael Lewis is a superb judge of fine tonewood. He rejects many sets of material before accepting the
final boards that will meet his carving knives. The sound of this instrument has a crisp singing quality that is refined and expressive. Its last owner 'burned' on this guitar with fusion that made the instrument dance in his arms
whithout letting his pick touch the wood! I know the time that was spent 'opening this guitar up'--and it shows. There is a more relaxed breathiness that is full bodied and responsive. A hidden bonus in this guitar is a Pickup-The
World passive soundboard pickup system. Since the instrument is designed as an acoustic, this is an appropriate way to capture the body vibrations while amplifying the guitar. Enjoy the extra sound support for casual home use or
in the studio, while additionally miking the guitar, if you like. This is an exceptionally lively instrument that has that magic we all crave. It is in excellent+ condition. A gem.
$12,300
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2001 Sakashta "Lotus" model 16" acoustic archtop
This traditional archtop has been made with Sakashta's finest woods.
It was made as a show guitar for the Long Island Guitar Show a few years ago and then adopted as a sample guitar here at FGC. It is now offered for sale as a new instrument from the maker. Rarely is there a finished Sakashta
without an owner. This instrument is finished with an aged, dark lemon-yellow tint over a Master Grade Blue spruce hand carved top. The highly 3-dimensional quilted maple back and sides will make you gasp. A blank ebony board with
matching guard and cello tailpiece sets off the scrumptious colors. 1 11/16" at the nut, this guitar is built to feel like a '175,' but with solid carved woods and hand carved by one man. The tone has an elegant, intimate
charm. It has a warm, lyrical, singing tone. The notes have personality. The floating pickup option was beautifully installed by Taku. Avoid a 2-year+ wait. A Blue spruce top like this one is no longer
available.
$12,800
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| 2002 Jim English Laminated"Model #1"
Big hands? This Fire Orange, multiple bound body, headstock, and
fretboard is a beautiful piece of guitar making. Gold hardware is accentuated by the hand made, matching pickguard and truss cover backed in 22kt Gold Leaf. Utilizing a specially graduated pair of TV Jones filtertron style
pickups, this instrument is like the ultimate late 50's "Gretsch-6120-that-Never-Was". Most of those old guitars looked and sounded better than they played. Out of frustration around that fact, serious Chet Atkins style
player Jim English got to work over several years. He created this solution, with a tip of the hat to that classic Gretsch design and sound. This is the sound that is often associated with Chet Atkins' earlier recordings, and the
characteristic tone of early Chuck Berry, Duane Eddy, Beattle George Harrison, and Brian Setzer. Order one with your favorite specs from us or grab this chance for one that was made for someone who needed 1 7/8 at the nut. We are
proud to be Jim English's representative. If the nut measurements on this one fit your hand (call Richard if there is any question) you will feel what it is like to finally have a solid and accurate feel for your fingerstyle
guitar playing.
SOLD
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