Grit Laskin Guitars

When I decided it was time to get some amazing inlay work in to the TAMCO shop my first thought was the legendary Grit Laskin. My second thought was there is no way he is going to send me a guitar. My third thought was there's no harm in trying. I was flabbergasted when he said he would be happy to!!! There are now three guitars booked in for March 2014, 2015 and 2016.

I have spent hours on his website (Grit Laskin Guitars click here) gazing in wonderment at his work. I have since met grit at the 2013 Healdsburg Guitar Festival (I was honoured to have dinner with him and Ervin Somogyi). It is possible for you to work out your own design for the 2015 and 2016 builds.
  1. Laskin 'Origins of Bluegrass'.

    Laskin 'Origins of Bluegrass'.

    Starting at the headstock and moving up the neck:

    -A portrait of an older Bill, playing his mandolin (a mandolin HAD to appear, not just because of Monroe’s legend, but because I’m making this for YOU!).

    -still in the headstock we begin the history lesson - we see the label from the first single-song record that Monroe made, in 1940, “Mule Skinner Blues”, recording with his ‘blue grass boys”.

    -next we see the first of the other 3 original members of the Blue Grass Boys (this part drove me a bit nuts since personal changed frequently as the years went by, later—1945-- including Flatt & Scruggs as well). The three originals, which I’ve depicted, were: Clyde Moody on guitar, Tommy Magness on Fiddle and Bill Wesbrooks on bass.

    -Since Monroe’s appearance at the Grand Ole Opry was pivotal to his early growing fame, I included a poster from one of his earlier appearances. The poster’s first appearance is as it leans into the design in the midst of the band members.

    -in the higher frets we see the title to the first LP Monroe recorded, in the actual font, and given the text we can feel how the genre was beginning to take its name. Behind the lettering will be the blue sky as it looks on the album jacket

    -in the background to this title we see the stylized portrait of Bill, which actually comes from the right hand side of the same Opry poster we saw earlier. What this accomplished for me however is making Monroe himself the bookends to the narrative.

    Laskin 'Origins of Bluegrass'.Laskin 'Origins of Bluegrass'.Laskin 'Origins of Bluegrass'.
    Laskin 'Origins of Bluegrass'.

  2. Laskin 'Birds of Paradise'.

    Laskin 'Birds of Paradise'.

    This beauty sold before it arrived.

    Laskin 'Birds of Paradise'.Laskin 'Birds of Paradise'.Laskin 'Birds of Paradise'.
    Laskin 'Birds of Paradise'.Laskin 'Birds of Paradise'.Laskin 'Birds of Paradise'.

  3. Grit Laskin visit April 25th 2015. Legendary Luthiers Three.

    Grit Laskin visit April 25th 2015. Legendary Luthiers Three.

    William (Grit) Laskin is legendary for his inlays. He is a VERY entertaining speaker covering his part in the development of the soundport and arm bevel with many informative and interesting stories to tell.

    See my reviews page for the article published in Acoustic magazine about the day.


    Grit Laskin visit April 25th 2015. Legendary Luthiers Three.Grit Laskin visit April 25th 2015. Legendary Luthiers Three.Grit Laskin visit April 25th 2015. Legendary Luthiers Three.


    Grit Laskin visit April 25th 2015. Legendary Luthiers Three.Grit Laskin visit April 25th 2015. Legendary Luthiers Three.Grit Laskin visit April 25th 2015. Legendary Luthiers Three.
  4. Laskin 'Leornardo Da Vinci' SOLD

    Laskin 'Leornardo Da Vinci' SOLD

    Out of stock
    Another tone monster from Grit, and it doesn't look half bad either!

    From Grit "the African Blackwood is the equal, in my experience, to old growth Brazilian, especially in terms of its instantaneous responsiveness." I'd have to agree with that. It has a depth and complexity of tone that I have rarely heard with incredible articulation and expressiveness, clarity and definition.

    See the story of the inlay below the spec. More photos below that.

    • Sitka top
    • African Blackwood back and sides
    • Sharp cutaway
    • Arm Bevel
    • Oval soundport
    • 14 frets to the body
    • 25.5” scale
    • 1.75 nut width
    • 2.2” string spacing at saddle
    • 16” lower bout
    • Mahogany neck
    • Ebony purfling
    • Wood bindings
    • MoP side dots
    • Wood and abalone rosette
    • Ebony bound fretboard
    • Ebony bridge
    • Gotoh 510 HAP tuners
    • Ebony tuner buttons
    • Bone nut and saddle
    • Ebony bridge pins
    • Clear pickguard
    • Hoffee custom case

    "In researching Leonardo Da Vinci I uncovered something I considered very interesting and enticing. It turns out that in its history, the painting we call the Mona Lisa (“Portrait Of Lisa Del Giacondo “) was stolen only once in its lifetime. In 1911 an Italian man working at the Louvre, walked it out of the museum under his smock. It wasn’t until 2 years later that the painting was recovered, when the thief, Vincenzo Peruggi, offered it to the Uffizi Gallery, back in his home country. He felt he was restoring the painting to it’s rightful home in Italy.

    The important aspect of this tale is really its after-effect. Until this theft, the painting was a significant but not particularly exceptional Da Vinci painting of the period. But the notoriety it received from this incident began it’s unceasing rise to fame, until today it’s considered the most valued and valuable painting from the renaissance.

    So, this pivotal moment became the root of my story, and of the inlay design I’ve titled “The Peruggia Caper”. And there is a touch of humour.

    Here’s a description of the images, starting at the headstock and continuing down the fretboard:

    -In the headstock we see a Vertical orientation of the thief, walking off with the painting, which is partially hidden under his half-length smock. The upper portion of the painting is exposed, so we see the upper half of Mona Lisa’s face—plenty enough for us to recognize the image. A small section of her left arm will also be visible. Behind Peruggia we see the stone arches of the Louvre.

    -As we move into the fretboard the visuals shift to horizontal orientation and we see the upper arms and head and portions of the graphic square & circle border lines of the Vitruvian man. But in my story, we see his lower left arm grabbing the foot of the thief and his eyes looking in that direction.

    -Moving down we see Leonardo’s helicopter—large, but still of a size that all the recognizable parts are in view—but we see that it’s being pushed into service by the extended arm and hand of Leonardo himself.

    -The Leonardo gripping the helicopter is based on the only known authenticated self portrait done in his lifetime, when he was middle-aged.
    -In the ‘background’ behind this portrait, and contrastingly in a vertical view, we see the iconic image of Leonardo as an old man, this portrait will be done in a way that imitates the original style of the drawing, done in the manner common at the time, which was in red chalk (faded to orange in our time). I will engrave it and fill the cuts with red, and the background material will be a beige Jasper stone, which will give it marbled, aged look. By orienting this image 180 degrees from all the other fretboard elements of the story, it gives the impression that the older Leonardo is just an observer, standing back and overlooking the narrative and his younger self."

    Laskin 'Leornardo Da Vinci' SOLDLaskin 'Leornardo Da Vinci' SOLDLaskin 'Leornardo Da Vinci' SOLD
    Laskin 'Leornardo Da Vinci' SOLDLaskin 'Leornardo Da Vinci' SOLDLaskin 'Leornardo Da Vinci' SOLD
    Laskin 'Leornardo Da Vinci' SOLDLaskin 'Leornardo Da Vinci' SOLDLaskin 'Leornardo Da Vinci' SOLD
    Laskin 'Leornardo Da Vinci' SOLDLaskin 'Leornardo Da Vinci' SOLDLaskin 'Leornardo Da Vinci' SOLD
  5. Laskin 'Darwin to DNA'. SOLD

    Laskin 'Darwin to DNA'. SOLD

    Out of stock

    I'm bowled over, flabbergasted and almost speechless. This this is a truly awesome guitar!

    It has a very full and resonant tone with fantastic deep, rich and well defined bass notes, full and complex mids and clear, rich and well defined trebles. It has great volume and headroom with perfect balance and projection.

    And... well just look at the photos...

    • Sitka top
    • African blackwood back and sides
    • Soft cutaway
    • Oval soundport
    • Arm bevel
    • 14 frets to the body
    • 25.5” scale
    • 1.75” nut width
    • 2.2” string spacing at saddle
    • 15 15/16” lower bout
    • Mahogany neck
    • Ebony purfling
    • Wood bindings
    • Wood backstrip
    • No position markers (with side dots)
    • Wood mosaic plus abalone, rosewood rosette
    • Ebony fretboard
    • Ebony bridge
    • Gotoh 510 tuners
    • Ebony tuner buttons
    • Bone nut and saddle
    • Ebony bridge pins
    • Clear pickguard
    • Hoffee case

    Laskin 'Darwin to DNA'. SOLDLaskin 'Darwin to DNA'. SOLDLaskin 'Darwin to DNA'. SOLD
    Laskin 'Darwin to DNA'. SOLDLaskin 'Darwin to DNA'. SOLDLaskin 'Darwin to DNA'. SOLD
    Laskin 'Darwin to DNA'. SOLDLaskin 'Darwin to DNA'. SOLDLaskin 'Darwin to DNA'. SOLD
    Laskin 'Darwin to DNA'. SOLDLaskin 'Darwin to DNA'. SOLDLaskin 'Darwin to DNA'. SOLD
  6. Laskin special. SOLD.

    Laskin special. SOLD.

    Out of stock
    I had long been thinking that it would be good to get one of Grit's guitars without any of his amazing inlays so that folks could concentrate on the amazing tone. Here it is. Grit's inlaid guitars go for over £20 000 with this one you can get the same tone for £10 000. Better photos coming tomorrow..

    Never to be repeated at this price!


    Here's why, from Grit..

    A very good friend of mine owns a Folklore Centre / Music Store / Music School that had been struggling financially for the last five of its 39 years. The community around this ‘institution’ raised some funds, which was a temporary reprieve for the Centre, and I wanted to do what I could to help. I had an available spot on my order list so I built a relatively unadorned (for me) guitar just for this Folklore Centre.

    The plan was to auction the guitar and my friend would get half of the proceeds.

    In the end, given that his clientèle were not those who seek out the higher-end instruments, like those who come to The Acoustic Music Company, the auction didn’t bear fruit. Fair enough, so it went on the wall of the store, on consignment (my way of not impacting my friend’s cash-flow).

    The timing however turned out to be the worst. My friend had reached the end of his financial rope and has been forced to declare bankruptcy. He gave me advance notice so that I could remove the guitar before it was caught up in the unfortunate event.

    I immediately wrote to Trevor, offering it to The Acoustic Music Co. at a very reduced valuation, the better to be able to quickly get some cash that I can turn around and present to my friend, to help him through this rough time. And to my delight, Trevor jumped on the opportunity to be able to offer one of my guitars at a much less than normal cost.

    • Sitka top
    • Ziricote back and sides
    • Sharp cutaway
    • Arm Bevel
    • Oval soundport
    • White Marble Reconstone headstock veneer
    • 14 frets to the body
    • 25.5” scale
    • 1.75 nut width
    • 2.2” string spacing at saddle
    • 16” lower bout
    • Mahogany neck
    • Ebony purfling
    • Wood bindings
    • MoP side dots
    • Wood and abalone rosette
    • Ebony bound fretboard
    • Ebony bridge
    • Gotoh tuners
    • Ebony tuner buttons
    • Bone nut and saddle
    • Ebony bridge pins
    • Clear pickguard
    • Hoffee custom case


    Laskin special. SOLD.Laskin special. SOLD.Laskin special. SOLD.
    Laskin special. SOLD.Laskin special. SOLD.Laskin special. SOLD.
    Laskin special. SOLD.Laskin special. SOLD.Laskin special. SOLD.
    Laskin special. SOLD.Laskin special. SOLD.Laskin special. SOLD.

6 Item(s)