This is the best sounding electric mandolin I've had. Volume, bass, treble and middle controls take some power from the soundman, plays very easily, few acoustics with the best pickups or close miked sound as natural as this. The unplugged sound is fine but this is really a very fine electric mandolin with great natural acoustic sound plugged in. Available in Cognac Sunburst and Natural finishes.

This is the best sounding electric mandolin I've had. Volume, bass, treble and middle controls take some power from the soundman, plays very easily, few acoustics with the best pickups or close miked sound as natural as this. The unplugged sound is fine but this is really a very fine electric mandolin with great natural acoustic sound plugged in. Available in Cognac Sunburst and Natural finishes.

Beautiful dark brown J4 standard two point from Jiri Lebeda with McIntyre feather pickup. Lots of low end growl from the oval hole. But this one has an unusually bright, clear and well defined top end for an oval hole bluegrass mandolin, best of both worlds, deep bass of the oval, clear trebbles of the f hole.

As above with five strings tuned CGDAE.

Cool is not a word I often use (no age related comments thank you..) but this is a seriously cool mandolin… Bruce Herron's amazing creation plays as well as it looks, one piece solid maple neck with truss rod, single coil pickup with tone and volume controls, tunomatic style bridge adjustable for intonation.

As above in chrome.

If you’ve never heard one of these it is very hard to describe, if you want a different sound this could be it. Tuned an octave below a mandola CGDA it has a low mellow rumbling sound! This is a players instrument, it has been beautifully refinished in the original colours, with original label inside. A black top and very dark brown with a hint of red back and sides. Another work of art it looks beautiful and sounds awesome. There is a very small amount separation in the back seem and a line running from the base of the bass side of the bridge to the edge, both have been checked by a local Luthier and are expertly repaired and stable.

An excellent condition Gibson A5G built in Bozeman, Montana in 1994, signed by what looks like Ray Brand. Its had the fretboard extension shortened, a good idea in my vew to stop those annoying clicks when your pick hits the extension. Its got a strong, sweet tone and comes with hardshel case.

We've had a few of these now and they have all been fantastic. This one has no cracks, the original pickguard, bridge, tuners, tailpiece cover and case!! If you like a strong, dark bass (I do) this is the best, it really thumps out the G and D with fantastic resonance, nice full/round middles and ringing trebles.

The holy grail of Gibson A, oval hole mandolins from the Lloyd Loar era. From 1922 this is a very clean example, no issues. Original tailpiece, no pickguard, truss-rod, original case. This one is typically very loud with fantastic balance and projection, clear, cutting trebles, bell-like mids and driving bass. With original case.

At a mere 87 years old this is a great value and mature dola, sounds, as vintage Gibson dolas do, like its lower than a guitar, deep mellow and wonderful. With original pickguard and tailpiece cover and a tatty case, its had more recent Gibson Kluson tuners added. There's a few areas of wear on the top, no cracks, the back is very clean. It came with a period solid mandolin bridge which we've adjusted and left on to retain the original look and sound.

With original tuners, tailpiece, bridge and fantastic condition original case with key! Probably breathed on by Mr Loar himself, its in great condition except for quite a few old cracks on the back, I reckon the've been around longer than I have (I'll be 21 again soon..). Its also had a back binding added and we've put a new strap button on so its at a very good price. Snakeheads are known for their volume, balance and projection, this is one of the best I've heard, half a tad less in the bass department than the other we have at the moment, but truly amazing volume and projection.

Original bridge, nut (shimmed), pickguard (a bit bendy), tailpiece and original case in poor condition that's been painted. The top is worn around arm and pick areas, the back is very clean. I am going to stop saying that whitefaces are rare, we've had half a dozen or more now. This one is slightly less bass dominant than most whitefaces (a good or bad thing depending on your preferences), but still with warm bass, very clear trebles, sweet mids and great projection.

This is one of the best condition vintage Gibsons we've had in, all original, no noticable play wear. Its just post Loar/snakehead era with truss rod and padlehead. The serial number suggests its 1927 but Dan Beimborn of www.mandolinarchive.com says numbers and lists didn't always tally for this period and its more likely to be 1926. Dan also says they are very sought after and often sound better than the snakeheads, I would have to agree... Its got the typical snakead tone, incredible balance and projection, strong bass, rich well defined mids and clear/precise trebles. Lots of folk say you can't cut through with an oval hole, they probably haven't heard this one. It comes with an equally good condition original case.

Wow!! The sound of these old gibbo 'dolas has to be heard to be belived and this is one of the best sounding we've had. Its in great condition, no issues, it has the amazing handel tuners, original tailpiece, overspray on back only. I had been playing it for quite a while when I noticed its had a new headstock spliced along the neck but so well done the inexperienced eye wouldn't even see it, it was expertly done for Mugwumps in the US of A. So its approaching £1000 cheaper than the same beastie with the original paddle but missing nothing in the sound department, incredile deep, growling bass, dark and complex mids and sweet trebles. With non original quality hardshel case.

A4s have been hard to come by recently, if memory serves its at least a couple of years since we had one. This one is probably the best condition A4 we've had. Original, bridge, tailpiece, pickguard and the amazing Handel tuners and great condition original case. It has a bit of a neck kick at the body join so its a bit rattly above the tenth to twelfth on the G and D but otherwise plays beautifully. I considered working on the neck but as it has all the notes most folk would need decided to keep the price down and keep it original. If the rattly bits get any worse (or in plainer English the neck moves) within two years of you buying it a full refund is yours if you've looked after her. It has the classic A4 sound, all the bass of an A or A1, A2 but a bit more refined with rich mids and clear trebles and great definition balance and projection.

Gibson 1913 A pumpkin top, complete with old sales sticker from Music Emporium Pittsburgh, Pennsylvania, as well as the original Gibson label. Tuners and tailpiece cover aren’t original and there is the very common (well repaired) slight back and sides movement. Plays well and sounds sweet, more definition and projection than many of these old Gibbos, with warm bass, rich mids and ringing trebles. no case.

Great condition A1 (therefore with headstock logo) from 1915, original tailpiece, tuners and bridge and great condition original case. Its had a very thin and barely perceptible overspray, hence about £100 less than an A1 in this condition would otherwise be. It sounds great, fantastic depth and resonance, warm bass, rich and vibrant mids with sweet 'n clear trebles.

A mandolin that thinks it’s a mandocello, you just can't get more bass out of a mandolin than this. Whiteface A3s are characteristically strong at the low end but this one is exceptional. Its not the best condition whitey we've had - some old and stable top sinkage, and old heal crack, otherwise: original bridge, tailpiece cover, tuners, pickguard and clamp and original case in good shape - but it is the best sounding. The bass is huge, mids very resonant and the trebles bright and clear.

1915 blackface A4 in excellent condition with the gorgeous Handel tuners. All original, bridge, pickguard and clamp, tailpiece cover and case in good condition. It has the typical full and rich A4 sound, very sweet and resonant with a strong bass but not as bass dominant as some pumpkin top As, warm mids and clear, sweet trebles.

Fantastic condition (no splits, repairs or other issues), 1914 A with a light overspray, original tuners and tailpiece (but not cover), new adjustable ebony bridge and no case. It’s a tad brighter than some teens Gibbos but still with that loverly solid 'n warm bass, projects very well.

1916 A, all original, tuners tailpiece and cover, compensated bridge and good condition case. No splits cracks or repairs, some top pick wear and back scuffing with evidence of intimate relations with a belt buckle. This one sounds great, fantastic bass, sweet mids and clear trebles with better definition and clarity than most and good volume.

Wow we got one! (see mandolin family page). Its huge and its beautiful in an ugly kind of way. These are rare beasts indeed. They were created by Gibson to complete their mandolin orchestras. Gibson claimed at the time that they produced 'deep and profound pulsations'. The truth is not so exciting. Contrary to previous advice the scale length is 'only' 42" and 65" tall, 25" wide. It is designed to be played either guitar style or upright and has an extending foot for each position. Tuned an octave below the bottom four strings of a guitar the sound is not all you might hope, (though I'm told a contact mike and good bass amp solve the problem), I've heard of a band that uses two. It has an original and very rare canvas case.

This has been my holy grail for years. It came to me via one of the US's most reputable and knowledgable collectors, original except new tuners and pickguard, it has a few professionaly repaired cracks in the top and back. The back is unusually highly flamed maple for the period. The sound is the most mellow you could imagine. It comes with a modern guitar case.

Scruffy but solid Hoyer mandolin. The headstock logo dissapeared long ago, the electrics have also sadly demised but the pickguard is still there, it has the usual varnish crazing on the top, and plenty of it. Apart from these merely cosmetic issues its in fine shape, plays well and is avaiable at a great price. No case.

Bob (R.L.) Givens made mandolins from 1962 to 1992 and sadly died in 1994. This is serial number 501, finished on the 3rd December 1989. Legendary for their tone and playability and made during a time that a well known mandolin maker was making what a better known mandolin commentator than myself described as 'acoustically challenged' mandolins. Givens mandolins are highly collectable, though those that knew him say he would have preferred them to be played than bought as an investment. You can see an appreciation of Bob Givens at flatpicking.com For once we have a legend that is not a myth, this is one of the best sounding mandolins I have ever heard. Bob hand-made over 600 mandolins, if he had made less the prices of these gems would be through the roof. My own collection is too large but if I can bear to part with any this may not be available for long. It is very loud, a chop chord brings the wall down, but also responds to the lightest touch. Very deep warm bass, rich honey soaked mids and clear cutting trebles, it seems to do what ever you want! This really is a phenomenal mandolin... I'm persuading myself... A few dings and scratches on the top but otherwise excellent condition with original case..

Signed by Bob under the top, March 1985, I have put a dental mirror in the case for the viewing thereof. In very good condition - small dings on the top - othewise excellent condition. Wider at the nut than the A3 (30mm/28mm), its even louder!!! I have had to change my playing style a bit to avoid the Black Sabbath problem, yes I lost some of my hearing to them in 1972, also the year I saw Mr Monroe... (these days I definately prefer one to the other). Its not quite as warm as the A3 but has more 'punch' with fantastic balance, seperation and projection, deep bass, rich mids and very clear trebles. If you can't be heard playing this one its your fault! With period F5 oblong, hard case.

New, old stock, A5L. With hardshel case.

This immaculate F5 'Fern' is from 1979 (there are details in pencil inside the top, thru bass f hole, I have put a dental mirror in the case for viewing but my eyesight won't let me work it all out), the pickguard is a later edition. It's as loud as the A5 (VERY loud) with even more separation and projection. The clarity of each note is unbelieveable, ban*o killing is like swatting dead flies... With hardshel shaped case.

Mandocaster, all orinial except one new potentiometer (old one in the case). Dated July 1964 its been played well but its got many a decade to go yet, dings 'n scratches all over but bery good conition for its age, plays beautifully, they have been getting harder to come by recently, especially with original case.

Number 118 from Bob, mid 1970s or thereabouts. This A5 has a bound headstock, pickguard, radiussed fretboard scooped at the 23rd and 24th frets (possoibily not original), Grover tuners with a little slack but 100% functional and its had a McItyre feather pickup added (only alteration to the mandolin is a jack plug/end button). We have added a solid ebony bridge from Cumberland Acoustics. One owner from new its been very well played but has no issues. It sounds like all great mandolins should... Anybody who knows me will know of my love of the oval hole sound but that ocassionally I rave about an F hole that has the best of both sounds, this is such a beastie. Incredible volume, speration and project known to few mandolins but without sacrificing bass and sustain. Deep and rich at the lower end, a sweet, vibrant mid range and clear and bright up in the heavens, and that's where it takes me, great for bluegrass or any other mandolin style. With stickered Golden Gate ABS case.

Bob strikes again an excellent condition F5 'Fern' #195 form 1980, this is more proof that reality surpasses legend. With beautiful flamed maple back and sides and a spruce top, its another ban*o killer with amazing volume and projection, chop chords produce a wave a air that can be felt, but as is the test of a geat mandolin it responds to the player. A gentler approach produces a complex and rich tone, the bass and mids are very deep and warm, the trebles clear and sweet. A great bluegrass cannon but also an all rounder. With original case.

Very playable and very collectable, these Montana made 'pancakes' out-perfom their diminutive size. This 1984 2K in spruce and Koa has very strong and well defined bass, similar to vintage Gibson oval holes, with warm mids and ringing trebles. With original fiberboard case.

The holy grail of the snakehead holy grails… let me explain. The Gibson snakehead mandolin, spottable by the distinctive headstock shape and produced during the time that Lloyd Loar was at Gibson is widely considered to be the pinnacle of Gibson's oval hole mandolins. The A2z is regarded as the best sounding and is the most sought after of the snakeheads. This very rare blacktop has A printed on the label but it is full A2z spec, pearl headstock logo, b/w top binding, fretboard and back binding and wide white rosette. It is in excellent condition, no issues, with original pickguard but non-original bridge. So does it pass the famous TAMCO 'is the legend a myth' test? Wow!! It sounds incredible, oval hole sound, deep bass and lots of resonance, but with remarkable projection and balance with strong mids and clear, precise trebles. A truly amazing mandolin. Comes with the original case in very good condition except for taped handle.

These old F4s have been shooting up in price recently. This one is in excellent condition, with the very special Handel tuners, no cracks repairs or other issues, original bridge, tailpiece and pickguard and clamp. Its got bucket loads of that magical vintage Gibson F4 tone, amazing woody and dark bass, rich and complex mids and sparkling, sweet trebles. With later Gibson hard case.

Beautiful looking A5 from Peter Cook in fantastic condition. For those of us old enough to remember Peter made many instruments for the 70s folk rockers Lindisfarne. It has a wider fretboard than most A5s at one and a quarter inches. The tone is very deep and vibrant with plenty of volume, a great all-rounder, lots of chop for bluegrass but with resonance and breadth for other styles. With hardshel case.

Solid spruce and solid maple KM700, triple bound top back and headstock, gold hardware and tortoise pickguard, in excellent condition.

I don't know much about this one, let me know if you do, it’s a very nice piece of work with a sweet tone. We had a split in the back professionally repaired, all original with original case.

This one was only out of the shop for a few weeks, an 815 dola for the price of a 615!

As new A4 basic from Mr Capek, we don't get a lot of these used.. It won't be here long.

Carved top and back 'dola from Phil Davidson. We've put on a new solid/cast tailpiece and installed a new McIntyre feather pickup. In very good condition this is a fantastic sounding mandola. Lots of that deep rumble the way I like 'em, I've had it a home for a while while I was waiting for another dola to arrive, I am not at all sure I shouldn't have kept it. With hard case.

Fantastic condition F4 from Rosta Capek, well played in so its loud and powerful with incredible bass. See new for description, with original case.

A German blonde in her fifties… well preserved, the usual crazing in the top finish, gorgeous original pickguard, a couple of bent but working well tuner shafts and some very nice flamed maple on the back. Plays very well after a little set-up work after arriving with original (probably) strings! No case.

Beautiful black face 1908 three point F2, with modern custom case. It has two very old and sanely cracks, one running from the south of the scroll and the other running north from lower treble point. All original including pickguard, this was the time that Gibson switched from the inlaid pickguard to the raised and clamped variety, it would originally have had a second clamp. Unusually for the period it has tone bar bracing which may account for its incredible tone. Many three pointers are quiet and unimpressive, this is one is loud and very responsive, strong and resonant bass, rich, complex mids and sweet. clear trebles.

This is the sixth of Bob Givens' wonderful mandolins we've had in stock, # 399 from 1987, with label inside and original case. Its in amazing condition, a few small patches of wear around the treble soundhole and a few small marks there and between the bass soundhole and side, otherwise almost pristine, the back has barely a mark. Its another tone monster, as loud as the A5 but richer. This is to my ear what a great f hole mandolin should sound like, plenty of warmth, resonance and depth with very clear trebles and fantastic response. Chop chords are brutal while producing fantastic tone if you keep your fingers down. Like all the other Givens we've had it has it all from bluegrass to classical and everything in-between.

The Flatiron F5 Artist is one of the legendary mandolins of our time. The A5 artist is possibly even harder to come by. This example is in remarkable condition, it has a small headstock varnish chip but otherwise is impossible to tell from new! I have never seen a mandolin of this age in this condition before! Built in 1988 (just after Gibson took over Flatiron) and signed by Dennis Balian the sound and build quality tells the story of why Gibson bought Flatiron out. It has all the qualities of a great f hole mandolin, remarkable volume and projection (aka chop and bark to bluegrassers) fantastic woof from the mids and deep well defined bass. A beautiful mandolin, great tone and collectability all in one! With hard case.

All solid woods Ashbury F5, in excellent condition.

Vega cylinderback mandolins are hard to find, mandolas very hard to find, there are very few mandolin/mandolas. With a 15" scale length, in-between mandolin and mandola, it is tuned CGDAE, so you have a mandolin and mandola all in one, great for chords as you get an extra note giving a fuller sound. Why more instruments aren't made in this format is a mystery to me. The cylinder back increases the volume of the sound chamber, this increases the bass response and resonance giving a throaty sound without loosing the mandolin sound at the top end. Its in fantastic condition, there’s a small (1/8") ding on the bass point and a professionally repaired short split on the back. The case appears to be original, my only doubt is that its in such great condition, but as they haven't made them like this since the 1920s I can only assume its the real McCoy.

Carved top and back martin mandolins are very rare, not many people even know they were made. This is a particularly fine example with a highly flamed maple back and neck, spruce top, C.F. Martin and Co on the headstock, a few light scratches. It plays easily with a low action, good projection and a nice bright sound. It comes with the original hardshell case in fantastic condition, complete with key.

Martin were not realy rivals to Gibson in mandolin making but made some fine flat back bent top models in this period. This is from 1925, style B, serial no 11967. It has rosewood back and sides and a mahogany neck with engraved enclosed tuners, fancy cutout headstock and inlaid pickguard, herringbone backstripe and a compensated bridge. With a 13" scale it has a sweet tone with very clear trebbles, comes with original case in amazing condition, complete with key!

Mike Vanden is the only UK bluegrass mandolin maker that I know of that is highly sought after in the US. This is an example of why. Its beautifully made with very nice flamed maple back and sides and that bluegrass tone, bark, chop and bite. With Mike's own pickup it sounds as good plugged in.

This is a georgeous 1920s cylinerback with mahogany back and sides. Its in excellent condition with original case in great condition, with key!!! The sound of these unique instruments is fantastric, great bass (that's why the cylider is there to increase the volume of the sound chamber) but amazing balance and projection. There's not a lot of these around and fewer in this condition, a true collectors item that is also a great player.

One of Mike's earlier mandolins in great condition, its got strong bass and clear sweet trebles. With heavy-duty gigbag. The colour on the two pictures doesn't match, it is the same mandolin! The picture of the back is the closest to the true colour.

This was made for Wurlitzer for their catalogue and shop sales by Weyman of Philidelphia, probaly in the 1920s. Weyman called their mandolins mando lutes. Thanks to Dan Beimborn and Paul Brett for information on this little gem. I think the back is figured walnut though Dan is convinced its Koa. Its a very beautliful mandolin and a great player for folk and classical.

Wha d' y say about this! There are not many of these around, grab it while you can! Its in as new condition, its loud and resophonicy!! It’s a tough business describing sound (awwww poor me). I'm not even going to try with this one. With Rigel rectangular case.

See Rigel page for description.

Budget cello to get started on those teeth rattling low Cs, in very good condition with original case.

This beauty used to be Ted Eschliman's, from jazzmando. Since Rigel's demise I managed to prise it away from him as he wants to move onto new projects. It is in excellent condition and has the classic CT-110 sound, but Ted has palyed it in... There is an amazing depth and richness to the tone, complex but well defined... its very hard to describe the tone of such a fantastic mandolin, if I didn't have too many (including two Rigels) it would be on my wall not the shop wall. My nomal photo set-up didn't work for this loverly blue so appologies if these shots look a bit strange. With original hardshel case.

We've had a few cylinerbacks before but this is the first maple back and the only one I've seen with original sunburst. Bluegrassers look the other way... It has that typical wonderful mandola sounding solid bass, you can feel it rolling around that cylinder (I guess that's what its there for!!!), rich mids and sweet trebles. In excellent condition with minor playing wear, no splits cracks or other issues. With cheap fiberboard case.

Our fist ever used Weber!! This is a stunning Bridger with sunburst and gloss upgrades, new price would be £1795. It has a great sustain and resonance, with deep bass, vibrant mids and ringing trebles.

Used Rigel prices haven't stared to raise yet.. There was only 17 of these incredible and unique mandolins made before Rigel's star tragically waned. This one is in as new condition 20% less than we sold them new and it has all the killer tone described in my original description, take a look. With original case.

As new Lebeda Jazz premium, it was only out of the shop long enough to have the original pickup changed to a Fishman, then the owner decided that he was going to concentrate on the guitar! Specially tuned for increased bass response but still great for bluegrass, with plenty of chop and bark, woody bass and strong mids, with clear, well defined trebles, this beautiful F5 from Jiri is a gem. Finished in amber the flame maple back and sides are stunning, the headstock is decorated with Macassar Pearl, gold hardware and radiussed fretboard. With hardshell case.

Great condition 2002 F5 dola from Jiri Lebeda. If you like your mandolas with a very dark sound this is the one. I have done a lot of mandola playing recently and find it even harder than with the mandolin to choose my favourite sound!! Some dolas have the darkness with some brightness at the top end, others just sound like they are deeper than the notes suggest, this is one of those, it growls and grumbles like no other. All the Lebeda mandolas I've had have sounded like this, I had an A4 master for many years and have often regretted selling it, I might just keep this one... With hardshel case.

We are selling this beauty for Simon Mayor (see photo of Simon playing it). Its from the early 1980s with Fishman bridge pickup and fibreboard case in spruce and flamed maple. Mike is considered by many to be one of the world's top bluegrassstyle mandolin makers (probably the only one from the UK with such a reputation in the USA). Its in good condition with the usual playing wear, a few nicks and marks on the top and back. It has a fantastic rich and complex tone, deep and warm bass with full and vibrant mids and clear, sweet trebles.

This Vanden A4 in spruce an beautiful flamed maple is also being sold for Simon Mayor, see photo of him playing it. Its from the mid 1980s and shows some play wear, marks and small dings hear and there and some varnish wear on the back of the neck(see photo) where Simon has worn through! It is a bit deeper and has longer sustain than the red/brown A4 but otherwise its similar in tone. It comes with a wooden rectangular case.

My obsession with 10 string mandolin family instruments has strucken gold here! You have the sweetest bassiest 'dola and clearest pretiest mandolin all in one, heaven. It doesn't look bad either with black spruce top, tortoiseshell binding and flamed maple back and sides. Comes with Mac Intyre feather pickup and hardshell case.

A5 from Jiri Lebeda, 1998. The top has been re-sprayed and there's some varnish wear on the back but its still a lot of mandolin for this much.

I had my eyes on one of these when Ted Eschliman of Jazz Mando first worked with Pete langdell on it, I couldn’t afford it at the time but its eventually found its way here. It has an amazing brassy kind of tone, the deep growl of a dola but with amazing focus, no stray tones whizzing about. If you are thinking of coming to see it let me know because its in no mans land at the moment, or to be less obtuse, on my wall (when I'm not playing it) at home, therefore at any moment it might get marked sold...

Excellent condition blonde 2255

Well used 2002 folk mando from local maker Richard Osborne in cedar and rosewood. Its all sound, just quite a few pick and other marks on the top, Richard charges £950 for these now. Its got lots of deep resonant tone and plays beautifully.

Fantastic condition F5 basic, with original case. Its well played so sounds amazing, but also well cared for. A great deal at £350 off the new price.

Simon Mayor's Evaluation
Rosewood looks seductively attractive on this mandolin. An initial tickling of the strings gives me plenty of sustain. I find myself playing baroque music on it and it’s delicate, almost harpsichordal quality is well suited. I know immediately that this is going to be an easy mandolin to linger on, its response is reassuringly fast. This would be good in a studio but I’d shy from taking it out on a concert. The sound is delicate rather than powerful, but rosewood can sometimes take time to come to life. I probably won't get the chance, but I'd be interested to hear this in a couple of years.

I decided to test them out on some relatives, not musicians or even particularly interested in mandolin music. When asked, they protested that they weren’t experts and what did they know about mandolins, but I assured them that this was precisely why I wanted their opinion. To my surprise, they immediately went for the rosewood model; it sounded “deeper”. I asked them for more adjectives and they came up with “richer” and “better”.

Dan Beimborn's Evaluation
Here's a very sweet-sounding instrument, soft tonally and responsive to delicate light picking. Many Irish & Scottish players will use this sort of mandolin on mike, as you get a very sweet note from it and it encourages a soft, even picking style that can produce a mellow rolling sound.

Acoustically this one won't peel the paint off the walls, but I could see using this one as a lead instrument on-mike. The tone reminded me of several Sobell mandolins I've tried over the years. I've always been a bit of a sucker for the smell of rosewood too, I kept sniffing it in between tunes!

Only out of the shop for a month, the owner decided he was an f hole man. Was £1595 new.

Cedar/Mahogany carved top and back A style mandolin from Paul Shippey. It’s a beautifully made mandolin with rich tones, a bluegrass (oval)/folk crossover sound, a very versatile mandolin. With hard case.

Great condition sunburst 2255 with case.

A J40 from the mid seventies, its been around a bit but is sound and plays well, nice deep tone. With Martin Slimline active pickup and non original case.

A really beautiful OM from York's Ralph Bown, #60 1988. All Koa with abalone inlays and slotted headstock it has a very complex tone with great clarity and separation. A stunning guitar, with case.

This is one of the most stunning guitars we've ever had! We've used it in our advertising and so has Dana. Adirondack and mahogany, koa binding, herringbone purfling, floral abalone fretboard inlay, fossilized ivory bridge pins, mammoth ivory nut and saddle. Its £600 less than the price of a new one and in as new condition! Dana's slope D has all the qualities of a top class dreadnought but with a little more depth and complexity in the mids and trebles, a very versatile guitar.

Gorgeous custom Lakewood D32 in spruce and rosewood, double abalone rosette, cutaway, bird fretboard inlay, with original case.

Limited Edition Martin Tom Paxton HG-40LSH (large sound hole). Only thirty were made, we haven't seen one before! In hand selected bearclaw sitka, East Indian Rosewood and African Black Ebony with nickel Waverly tuners and LR Baggs active pickup with soundhole volume control. Strong bass with rich mids and clear trebles. Well balanced with great separation and projection With Geib hardshell case.

A twelve string with ba**s. Fantastic warm, deep bass AND all the complex trebles and rich mids, very nice indeed. In as new condition except its previous owner tells me it has had a small back crack professionaly repaired, I can't even see the repair, with original case.

See Ryan pages.

The holy grail of hand made Americam guitars. I am afraid my mastery of the English language is not a match for James's luthery skills. The legendary sound is legendary.... This is the classic Olson model, the SJ in Cedar and Rosewood in excellent condition, one previous owner. Train, plane or automibile, you gotta hear this one.. With original case.

Another masterpiece from Ralph in spruce and stunning ziricote. This amazing OM has a depth of tone that is incredible, the bass is very deep but not overpowering, the mids are warm and complex, trebles sweet and clear. Its most remarkable feature is the balance and response, reputations like Ralph's are hard won and well deserved. There is a short split in the back, that was repaired and cleated by Ralph when it was a few months old. With undersaddle pickup and Calton case.

Well used D28, sounds great, with case.

Excellent condition twelve string from Taylor with original case.

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Excellent condition Custom OM from Dana Bourgeois in sitka and mahogany with abalone rosette and tortoise bindings. Incredible balance, clarity and projection, perfect for fingerstyle and delicate playing but with plenty of ooomph when desired, it would be hard to find a more versatile guitar. With original case.

As new Ovation with case.

Rod's number 69 dread in spruce and rosewood, in good cindition with some pick marks on the top and general wear but no issues. It has herringbone purfling and rosette, a soft V profile neck and it sounds great, strong bass, well focused, great projection and balance. With case.

Great looking sunburst 12 frets to the body small jumbo from Newcastle's Kevin Parsons in spruce and maple. Kevin has made instruments for George Harrison and the Stones. The guitar has good playability, solid bass, strong midrange and trebles and its very well balanced. A nice fingerstyle or plectrum player's guitar. With Hiscox case.

This sixties D18 has been around a bit but has no issues and bags of that classic Martin sound. With non original hard case.

Excellent condition dread from Taylor in spruce and rosewood. Very well balanced, deep and resonant. With original case.

Some very tasty inlays on this 910, its about ten years old, in excellent condition and with original case.

Charlie Hoffman was one of the first wave of new American luthiers in the early 1970s. He was mentor to James Olson and is highly regarded for his responsive an beautiful guitars. This spruce/koa 2002 Concert model (fifteen and a quarter inch lower bout) has more bass and sustain than many Koa guitars but retains Koa's typical incredible clarity and separation. Great projection and balance with warm bass and rich mids and very precise trebles. With beautiful AAAA koa back and sides, tight, even grained Engleman top, herringbone purfling and rosette, if you like your guitars to look as amazing as they sound this might be the one... With original case.

Spruce and rosewood dreadnought from Tacoma in excellent condition. A great flatpicker, lots of solid, well defined bass, strong and vibrant mids and clear trebles.

I'm going to chicken out of trying to describe the tone of this Olson (again). Those of you who have played one will understand why, those who haven't should, we now have two to chose from. This excellent condition 2001 SJ in cedar and rosewood, it has many upgrades, abalone top and headstock borders, mother of pearl fretboard inlays and rosette and abalone back stripe. With original case.

A very fine Gypsy Jazz guitar in excellent condition from the late David Hodson. A description from his website "Based on the model made famous by the great Django Reinhardt and giving the true Gypsy sound, the 503SR body is built in the same way as the Selmer built guitars. The back and sides are formed with a triple laminate, with an open grained Mahogany to the internal face and Indian Rosewood to the outer face. The total thickness is no more than 1.8mm but very strong. The solid spruce top is also extremely thin and has very light braces. If is these factors that give this guitar its unique sound. In keeping with the original style of these guitars finishing is kept to a minimum." With under-saddle pickup.

One of my favourite guitars in my favourite wood. Dana's OM is a classic of modern guitar making, with the (beautiful) walnut it has an incredible rich and complex tone. Deduct £180 if you don't want the pickup, with original case.

An old friend back after four years away. The H12 has a 15" lower bout and 12 frets to the body. The shorter neck changes the tonal balance by shifting the bridge towards the centre of the top, the result is the clearest, most well balanced and sweetest tone you can imagine. I've always favoured walnut to help achieve this kind of sound and this is one of the most striking pieces I have seen. Deluxe models come with mammoth ivory hand carved heel caps by Petria Mitchell. Excellent condition with original case.

Beautiful parlour blues guitar from Southampton's Vince Hockey in solid spruce and solid maple with Waverly tuners, gorgeous abalone fish fretboard inlays, rosewood body bindings and ebony fingerboard and bridge. Fantastic balance and separation, a brilliant punchy blues axe. With case.

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75 D35 in average to good condition, with original case.

Solid spruce top, solid flamed maple back and sides, dovetail neck joint, bone nut and saddle, a stunning looking jumbo from Guild. Sounds great, stung jumbo bass with a bit a brightness form the maple, great for strumming and picking. It has a small split on the top beside the fingerboard on the treble side, hence amazing price. With original case.

Custom Huss and Dalton MJC in spruce and flamed maple with curly maple top, back and fretboard binding, herringbone purfling and rosette. A very fine looking guitar. Amazingly powerful vocal bass with strong upper mids and shimmering highs. A very versatile guitar with great definition, good for fingerpicking and strumming. With case.

This stunning guitar is 000 size (15" lower bout) with a flamed redwood top and AAAAA walnut back and sides bound in curly maple. This is an acoustic and asthetic masterpiece. The sound has incredible balance and projection right across the range, it is sweet and warm but with great separation and clarity. Slight shop wear only.

A great dreadnought in spruce and mahogany with cury maple body binding, marquetry back strip, gold Scaler tuners and ebony bound ebony fretboard. This is the loudest dreadnough we've had in, it has a very open sound with great attack and sustain, solid bass and good projection. Very slight shop wear only.

Beautiful custom OMC from Dana with abalone rosette and maple body binding upgrades, with original case. Guitars don’t come much more versatile than this. Fantastic playability right up to the top with amazing definition and projection with the rich and complex tones of a bourgeois OM, in rosewood and Engleman spruce.

Great condition M1 withoriginal gig-bag. Lakewood donlt make this range anymore so it’s a chance to get a great guitar at a great price. With a satin finish, solid sitka spruce top, solid mahogany back and sides, ebony bridge and fingerboard with Schaller tuners this is a great value hand made OM. It has great clarity and seperation with good projection and balance, ideal for fingerpicking but strums very well to.

Made in Westerly Rhode Island this is a very sought after Guild twelve string. In fantastic condition it has that immense sound the a good Jumbo twelve should. With original case.

This classic looks like it left the lone star state (via Kalamazoo, Michigan of course) when Ameyrika's president and life long Texan (!) Lyndon B Johnson lost Mr McNamara due to his recommendations about the Vietnam War and Loretta Lynn and Buck Owens were in the charts. It looks like its been on the road ever since. Structurally sound, with non original Kluson style tuners, non adjustable bridge, typical varnish crazing, the case is somewhere between here and there but definitely not here. If you know the sound of a Texan you'll know what to expect.

Great condition HD28 with some minor playing marks. With original case.

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From 2000 spruce rosewood C22 in excellent condition. With original case.

A superb guitar from Canada at well under a grand! Fantastic deep warm bases, great balance, this one has more of the dreadnought sound than many a guitar at twice the price. Solid spruce top, solid mahogany back and sides with flamed maple bindings, a classic dreadnought with hard-shell case. As new with slight shop wear.

This custom M-14 has a solid cedar top, solid mahogany back and sides with gloss finish, ebony bridge and fingerboard, Schaller tuners, solid maple bindings and abalone rosette with Hiscox case. This is a great fingerstylists OM, its got fantastic balance and definition with good projection, its also very versatile working well for many styles of playing. As new with slight shop wear.

Dreadnought electro acoustic cutaway, 1 & 5/16th nut width & 25.5" scale length. DBC Bridge. Endorsed by Monte Montgomery in the USA. Solid Cedar top with a gorgeous burled mahogany back and sides (sometimes called lacewood in the states), mahogany neck (dovetail joint) with ebony fingerboard and abalone rosette. The satin finish and cedar combine for a balance and punch you don't find in most electro acoustics. Sharing the DCB bridge tonal virtues of volume sustain and overtones this guitar is as happy being picked or heavily flatpicked making for a fantastic all round performer. As new with slight shop wear.

Faithful orchestra style (OM) with 1 & 3/4" nut width and 25.5" scale. Solid Sitka spruce top with scalloped braces, rosewood back and sides, ebony fingerboard on mahogany neck (dovetail joint) finished in a gorgeous gloss sunburst. Abalone inlay around the soundhole, bound and bevelled fingerboard binding. Also equipped with the Bob Wier designed pick up system. A patented Yairi invention of the direct coupled bridge allows for increased rake angle over the saddle transmitting more energy to the soundboard. This makes for more volume, sustain and overtones. This design also eliminates problems like bridge pull or sink. Tone wise you get great balance, punchy projection and lots of headroom for those louder pieces. That bit of extra string tension on a smaller body is great for DADGAD and other open tunings as you still get a good snap on the bottom and clarity in the higher registers. Fans of the golden era Martin period may also like to know that the bridge plate (the internal reinforcement of the soundboard where the bridge sits) is made of Maple, as opposed to Spruce. The Martin historian Mike Longworth believed that the maple bridge plate was a more important tonal factor of the period than that of forward shifted scalloped bracing. As new with slight shop wear.

Alexander in mahogany and cedar from Mr Bucknall with pickup by Mr baggs. Excellent condition with some light playing marks on the top. With original Hiscox case and warranty card.

Very rare Brazilian rosewood 1a 'butterfly' from Stephan Sobell. European spruce top, herringbone purfling and rosette, buffalo horn tuners, rosewood bindings. We have a copy of an email from Stephan from 2004 saying he remembers building it and that it first sold to a Scotsman in California. Some pick wear around the treble side rosette, shown, otherwise excellent condition. Incredible balance with amazing response and clarity but with great volume and projection, like no other we've heard. If I could write and describe sound like this…. With immaculate Calton Case.

This L48 has survived form the mid 10950s in far better shape than myself. It’s a real beauty with original pickguard an d case.

Vega cylinderback mandolins are hard to find, mandolas very hard to find, there are very few mandolin/mandolas. With a 15" scale length, in-between mandolin and mandola, it is tuned CGDAE, so you have a mandolin and mandola all in one, great for chords as you get an extra note giving a fuller sound. Why more instruments aren't made in this format is a mystery to me. The cylinder back increases the volume of the sound chamber, this increases the bass response and resonance giving a throaty sound without loosing the mandolin sound at the top end. Its in fantastic condition, there’s a small (1/8") ding on the bass point and a professionally repaired short split on the back. The case appears to be original, my only doubt is that its in such great condition, but as they haven't made them like this since the 1920s I can only assume its the real McCoy.

My obsession with 10 string mandolin family instruments has strucken gold here! You have the sweetest bassiest 'dola and clearest pretiest mandolin all in one, heaven. It doesn't look bad either with black spruce top, tortoiseshell binding and flamed maple back and sides. Comes with Mac Intyre feather pickup and hardshell case.

I liked the Absaroka Octave Mandolin/Bouzouki so much I asked Bruce to make a 10 string version. I've strung it in unison and with octaves for the bottom three and can't decide which I like best. It has amazing bass and sustain and the trebbles give it a kind of ethereal quality. Its the only mandolin family member instrument I've had that sounds even better plugged in, with its McIntyre feather puickup the bass response has to be heard to be believed.

For lovers of unusual intruments this is a delight. A 10 string mandolin, guitar body shape, 14" scale, tuned CGDAE, mandola plus mandolin all in one. With dolphin cutouts in the carved spruce top, carved rosewood back and sides, the bridge is interesting too, made form ebony but with white wood too, Ebony is black wood in the middle and white around the edges of the trunk. It has a very rich strong tone, great for chords but cuttin and sweet for melody work.

Jimmy Moon's instruments are some of the best value for money guitars and mandolins around. Because my musical knowledge/skills are fairly elementary I've retuned it from DGDAD to CGDAE, giving me a mandocello CGDA and Bouzouki GDAE, only two notes to change. Either way it has a very impressive presence, deep bass and great sustain. 23.5" scale, solid spruce top, solid maple back and sides its quite a looker too. Jimmy describes this one as the Standard Cittern. Retuned CGDAE it’s a shorter scale version of the 25.25” scale instrument below. The longer scale gives a bit more oomph on the low C and a better chord sound. This shorter scale version is easier if you are doing a lot of melody work. Comes with heavy duty gigbag.

Scale length 16": 406mm. Standard tuning CGDAE (CGDA as mandola; GDAE as mandolin)

Specially made for us by Jimi this is one of my 10 string projects, it is mandola scale length, 16", tuned CGDAE so you have a mandola and madolin on one instrument! Great for rythm as you get a fuller chord sound but also easily playable as a mandolin or mandola. See the cittern page for more information on this. It sounds better than any instrument at this price can be expected to. It has a bass response that few mandolas can achieve but is also sweet and clear in the higher registers.

The same fantastic dola/mandolin as on the Rigel and 10 string/cittern gallery pages, it went away for a while, changed colour and came back, still in as new condition and sounding wonderful.

Regular visitors to this site and readers of my wafflings will know of my love of the ten string mandolin/mandola (and other 10 sting mandolin family members) tuned CGDAE, bottom four mandola, top four mandolin. I have had others made with mandola scale length (Rigel, Moon, Old Wave) and reasoned that as Rosta Capek gets the most bass out of a mandolin he was the one to have a go at a mandolin scale length version, getting a strong C from a 14" scale would be a challenge only he could meet. The sound of the top four is as fantastic as my A4 basic. The mandola sound, in particular the C is amazing, maybe not quite as strong as a 16 or 17" dola but not far enough out to be worth comment, and it still has to play in. This is based on the A4 exclusive, Rosta's usual superlative workmanship and incredible flamed maple back and sides.

From Rigel's first batch of mandolas based on the renowned R100 I had this one customised to a 10 string mandola or short cittern. As a fan of five course instruments I've always wanted to combine a mandolin and mandola in this way. Tuned CGDAE with a 16" (mandola) scale length you get both instruments in one. This gives you the melody playing of a mandolin and a mandola but with an added fifth the chords are much fuller. It can even be used to to acompany solo singing. And its a Rigel, Peter Mix suggested a nice tobbaco sunburst but I thought as its a fairly radical instrument a radical coulr was called for so I chose a dark emerald green. I have to admit I had my doubts and nearly changed my mind but it looks phenomenenal. It sounds amazing to, great resonance sweat trebbles and rich bases. Comes with beautiful tweed hardshell case.

This is my first cittern, possibly the only bluegrass cittern in the world?

I ordered this from the states and prayed that it would work, so many people having said the spread of string guages was not possible, when I arrived to pick it up my heart sank, it was in completely the wrong colour, fortunately everthing else was fine, though not as portable as I had hoped, still more so than a guitar. It has a 20 5/8" scale, spruce top and flamed maple back and sides. The sound is amazing, I played around with different strings and came to the conclusion that with octave stringing on the bottom two or three the bass is actually stronger, thats the way its sounds to me anyway.

Yes, this is by the John Monteleone of New York, made in 1989, serial No 144. It’s one of the finest looking instruments I've ever seen, its in a chestnut finish on beautifully flamed maple. Scale is 24 1/2", hand carved top and back, adjustable bridge and ebony tailpiece. Ironically it doesn't have a monteleone tailpiece, I'm having one made, I'm also thinking of having a Weber 'Brekke' bridge made. Tuned CGDAE, it also proves I'm not the first to think of this idea. It sounds very different to the equivelent Fylde with a more open singing sound and a wider neck.

Single channel acoustic amp, 40 watts at 4 ohms, twin-cone speakersystem, two inputs, digital reverb, lineout, effect loop.

Manual and spec

Twin channel acoustic amp, 60 watts at 4 ohm, twin-cone speakersystem, two digital effects, analog signal control, line out, effect loop, COMPLETE WITH PADDED GIGBAG.

Manual and spec

Compact 60 with solid oak case. Twin channel acoustic amp, 60 watts at 4 ohm, twin-cone speakersystem, two digital effects, analog signal control, line out, effect loop, COMPLETE WITH PADDED GIGBAG.

Manual and spec

Battery mode: up to six hours without mains power supply, perm. lithium battery with electronic charge control, data and performance equivalent to Compact 60, protective cover.

Manual and spec

Powered 8’ extension box as monitor or in addition to Compact 60. 60 watt at 4 Ohm. Twin-cone speakersystem, analog. sig. Control mic, line and rca input master EQ, 2 insert points.

Manual and spec

Single channel acoustic amp, for classical instruments, 60 watts at 4 ohms, advanced two way speakersystem with dome tweeter two inputs, digital effect 16 presets, analog.. sig. control, COMPLETE WITH PADED GIGBAG

Manual and spec

Four channel acoustic amp, 2 x 60 watts at 4 ohm, mono, analog, sig control, two twin-cone speakers, four digital affects, channel mute, insert-link, pre master outputs.

Manual and spec

Twin channel high end reference amp for acoustic instruments 120 watt at 8 ohms, analog, signal control, AER 32 bit digital affect board, 100 presets, including AER memory footswitch and protective cover.

Manual and spec

Two channel acoustic amp for bass or instruments of the lower registers, 200 Watts, analog, signal control, band pass / bassreflex enclosure 4 twin-cone speakersystem, master for solo & ensemble.

Manual and spec

Three channel high end bass amp for acoustic and double-bass 12’ longthrow + dome-tweeter, switchmode power supply, 340 watt at 8 ohm plus 60 watt at 8 ohm, two way active, analog, signal control, compressor, notch filter.

Manual and spec

Mikes amazing CX has a 15 1/4" lower bout and features Englemann Spruce/Indian Rosewood, Bubinga rosette, Bubinga bindings with spalted maple accents, Bubinga tuner buttons and a pinned bridge. Take a look at the pictures, as I say in my talk about Mike it sounds as good as it looks amazing deep bass, clear, crisp trebbles and incredible definition. Comes with Cedar Creek case.

Another stunning guitar from Mike with a 16" lower bout this is a very versatile guitar. Mike has moved the trebble side waist slightly forward so it sits on the knee very confratably. It features Sitka spruce, Beeswing Mahogany, Beeswing Mahogany rosette, Rosewood binding with birdseye maple accents, Rosewood tuner buttons and a pinless bridge. It responds brilliantly to being driven hard by the flatpicker but responds equally well to a gentle touch with a very complex and well defined tone, the skilled player can make this guitar do his or her bidding, it looks incredible to. Comes with Cedar Creek case.

This gorgeous JX from Mike is in German spruce and Indian rosewood with spalted maple rosette and accents, bubinga bindings and black and white ebony tuner buttons on Gotoh 510 tuners, also featuring the new gold Evo fret wire (copper alloy) that is much harder than normal wire so it sounds and feels better and will last much longer than standard wire. As you might expect with a 16" lower bout, its loud. It is also remarkably well balanced with incredible resonance and definition and very powerful and resonant bass, with sweet, complex mids and punchy, clear trebles. With Ameritage case with humidity control.

With Madagascar rosewood ( 'the new Brazilian' see Bourgeois pages) back and sides and Western red cedar top this is another beauty with spalted maple rosette and accents and ebony bindings, with striped ebony tuner buttons on Gotoh 510s and gold Evo fret wire. Characteristic cedar warmth across the range, rich, woody and deep bass, complex, round and vibrant mids with clear, mellow trebles. With a 15 1/4" lower bout it has Mike's standard phenomenal playability, it is very responsive with great balance, definition and projection. With Ameritage case with humidity control.

As above in chrome.

As above with five strings tuned CGDAE.

Cool is not a word I often use (no age related comments thank you..) but this is a seriously cool mandolin… Bruce Herron's amazing creation plays as well as it looks, one piece solid maple neck with truss rod, single coil pickup with tone and volume controls, tunomatic style bridge adjustable for intonation.

Some of the finest curly maple I've seen is on the back and sides of this beautiful guitar by Dana Bourgeois. With tortoiseshell binding, vinatge waverly tuners and bearclaw spruce top its a work of art. It comes with a Baggs I-beam pickup and sounds very rich and warm with good seperation.

Wow. This is one of the most stunning guitars I've seen, you can see it with me and Dana Bourgeois on the Bourgeois website www.pantheonguitars.com. If only all curly maple had a home like this. Its No 7 of a limited edition of 12. A totally hand made acoustic archtop, it has a silky sound but with great bass and clear trebbles, you've just got to hear it.

The back of this guitar is the most spectacular piece of wood I've ever seen, quite how the tree grows with the grain spilling out in shell shapes is a mystery to me, this one is unique, normally Ziricote grain is in horizontal bands. When I saw it at the workshop (see pic with Bourgeois description) I just had to have it in the shop, if its still here in a few months I'm going to keep it! The sunburst Adirondack spruce top looks great and re-creates that 'pre-war' sound. The tone is very similar to the Walnut slope D, perhaps a little sharper.

Dana’s sitka and mahogany dreadnought, compare it to the famous name, mass produced guitars. Its top is hand tuned, woods hand selected by Dana. All this individual attention shows in an immaculate finish and great tone. The bass and punch required of a dreadnought but with control and balance with clear trebles and great projection.

A classic dreadnought in rosewood and adirondack for that pre-war sound. This beauty has the punch and rich deep bass to be expected of a dreadnought but more so than most, it also has a little more in the middle and top with clarity and projection for those who want to do more than flatpick.

Some folk might think you can't have the best of both worlds, they might even be right in many cases!! In this case you can have the beauty of highly flamed maple and rich, deep warm bass!!! Dana's versatile JOMC (see std JOMC for more details) has bass a plenty but with great seperation and balance, with the sweet clear trebles of maple.

A classic OM from Dana Bourgeois. Rosewood back and sides, Adirondack top, bone nut and saddle, ebony fretboard and bridge, Zig Zag wood inlay backstrip, nickel Waverly tuners and herringbone purfling. Very open balanced sound, warm bass with well balanced mids and sweet, clear trebles, perfect for fingerstyle but also responds well to being driven harder.

I've written about my love of twelve frets elsewhere and this surpasses all previous adulations. The 12 frets to the body allows the bridge to move closer to the centre of the lower bout, Dana has taken an OM body shape and elongated it slightly giving a very classic look with a beautiful slotted peghead and adirondack top on rosewood back and sides. The sound is superlative and the better it is the harder it is to describe, what really hit me on the first strum was the incredible balance, somehow each note is distinct but at the same time the sound is complete and all the notes are blended together. There is s great depth and warmth to the tone but with great separation and clarity. It falls to the hand easily and responds willingly... come and try it.