The Concert Grand

The Concert Grand has all of the features of the Grand Legacy except that the soundhole moves to the upper bass bout. The bracing design changes to take advantage of a bigger "sweetspot" in the soundboard and we add a "Flying Tone Brace" to allow the top to move more freely. The aesthetics are distinctly 21st century and lend refreshing change to this classical guitar of the new millennium. If you are a player in an ensemble or play out, this guitar helps differentiate you and your performance objectives. The bass bout soundhole allows you to hear your guitar better and it helps somewhat with projection since your hand is not directly in the way as it is with a conventional center soundhole. The result is a very loud guitar (especially in Cocobolo Rosewood and Cedar) and a players typical reaction when first playing the guitar is ... "wow!".

I first designed this guitar as a no compromise to tradition effort with the objective of creating a very loud, yet rich sounding guitar. Most experienced guitar people hold the opinion that high volume and rich tone cannot exist in the same instrument. Yet the Concert Grand has terrific warmth in the bass register, even in new spruce instruments, while the trebles have long sustain and excellent character. I have been surprised at the acceptance of this instrument in view of its departure from convention since it accounts for over 35% of my orders. Maybe we Classical Guitar people are adventurous after all?

I like to keep the trims clean and spartan on this design and it is usually specified with ebony bindings and simple side purflings in Rust color. I typically select the soundhole rosette to match the body woods, but I can do other figured woods if requested.