A cutaway is a curved indentation in a guitar’s upper bout typically below the neck, which allows easy access to the upper frets. This feature is favored for its aesthetic appeal and also for the freedom of movement in the upper register that it enables.
Several cutaway styles are available: a soft Venetian, a sharp Florentine, as well as a double cutaway applied below and above the neck.
Carved fret indicators on the back of the neck
Our signature development with which locating the key frets “on the blind” becomes a straightforward matter.
Palpable notches are carved in specific patterns on the backside of the guitar neck on 3 rd, 5 th, 7 th and 9 th frets. The player’s hand sliding down the neck instantly feels the grooves, which helps the player to navigate the neck without looking down on it, especially in low lighting conditions.
Acoustic pickup of your choice or our recommendation. We recommend LR BAGGS iBeam or Anthem pickups due to their exceptional performance and wide harmonic range.
An essential add-on for most performers playing their guitar with a strap.
A structural alternation suggested to us by our fan, now very popular among our female customers.
The upper half of a full-size guitar body is tapered at the back, thus leaving more space behind the guitar at the player’s chest level. This modification makes playing the instrument while sitting down significantly more comfortablefor women, preventing any painful sensations in the chest.
Rib rest or elbow rest El
Elbow rest – an ergonomic feature that chamfers (softens)the hard binding edge of the guitar in the lower bout, the section that normally comes into contact with the player’s
Rib rest makes a large guitar much more comfortable in handling, with the rear binding chamfered at the top. Women likewise appreciate the ergonomic comfort that this feature
2.4 Choice of woods and materials
(Give descriptions of the resulting tone, add photos)
Alaskan Spruce – for a bright, open, clear tone.
Canadian Cedar – for a warm, soft, open tone with beautiful overtones.
Balinese Rosewood – for a clear tone with punchy highs and warm mid-frequencies.
Balinese Koa – for a sweet melodic tone with pronounced mids and defined, but not sparkling highs.
Mahogany – for a well-rounded mellow tone with emphasized mid-range and no sparkle.
Soundboards can be built in single-wood, split-top or tripletop arrangements (Show typical photos of split-tops)
Back and Sides
Mahogany – for a balanced warm tone with a clear but moderate top end. A highly responsive wood.
Balinese Koa – produces beautiful lows, solid mid tones and moderate highs. Great for firmer playing.
Maple – gives a clear mid-range and highs combined with long sustain and very focused output.
Balinese Rosewood – offers a clear tone with full bass, warm mids and punchy highs. Great loudness.
Headstock, fretboard and bridge
Macassar Ebony (hardest wood) or Balinese Rosewood
(softer than ebony). These parts are not directly involved in
the sound production.
Back of neck
Combination of Mahogany and Rosewood, Mahogany and Macassar Ebony, or Maple, always to match fretboard. These parts are likewise not directly involved in the sound
Colored stone, mother of pearl, white Angel Wood, Jack Wood. Inlay materials do not noticeably impact the tone.
Gotoh tuners or as per customer preference.
L.R. Baggs iBeam or Anthem (acoustic), Seymour Duncan (electric) or as per customer preference.
Nuts and saddles Bone.
Set as per customer preference.
The finish is always satin.
Hard-shell case or gig bag.