Acoustic Gear

Andrew White Guitars
Gypsy Jazz-E

West Virginia acoustic builder Andrew White Guitars brought a whole line of impressive guitars to NAMM. His all-solid import flattops were impressive at less than $1,200, but the Gypsy Jazz-E shown here was what had heads turning the most. It features a solid Italian spruce top, solid curly walnut back and sides, a 1-piece mahogany bolt-on neck, and a fretboard and bridge made of ebony.

Orpheum Orchestra

Master luthier Ren Ferguson (who previously helped restore Gibson’s acoustic brand to greatness) is now building for Guild, and his latest creations are part of the new Orpheum series. They feature looks and appointments more typical of guitars from 20 years before the company’s 1953 debut, including Adirondack tops and bracing, hide-glue construction, and stunning golden-age-of-American-flattops styling. The line includes some very un-Guild-like shapes, including a slope-shoulder dread, as well as this Orchestra with Adirondack red spruce and rosewood.

Cole Clark
Angel 1AC and 2A3

Aussie acoustic builder Cole Clark brought the new Angel 1AC (left) and 2A3 to Anaheim. The 1AC features the company’s original Dual Input pickup with bass, mid, treble, blend, and volume sliders, and a lovely sunburst or black finish. The 2A3 (right) is the first Angel without a cutaway, and it also features Clark’s new 3-way pickup system—which incorporates a small condenser mic that’s shelved at 1.25 kHz to eradicate feedback problems while serving up an airy, natural sound.

L.R. Baggs
Lyric Mic System

The Lyric acoustic microphone system impressed us with its unobtrusive design and absolutely blew us away with its super-organic tones and feedback resistance. It features TRU•MIC noise-cancelling technology, analog signal conditioning, a discrete mic preamp, and presence and volume controls.

Paul Brady

Renowned Irish luthier George Lowden brought the redesigned Paul Brady signature model to NAMM. Because Brady is now using an external mic during live performance, he wanted Lowden to build him a model that would project a little more powerfully. To that end, the new signature model uses figured bubinga back and sides matched to a red cedar top.


Unlike the original all-mahogany Martin 000-17, the new-for-2013 000-17SM has a spruce top as well as a 12-fret neck and slotted headstock—making this a sweet amalgam of classic Martin elements and a silky smooth fingerstyle machine.


Available in both 12- and 14-fret versions, RainSong’s new Parlor model uses the company’s Projection Tuned Layering and is all but bulletproof. This little beauty is stage ready, too, with its Fishman Acoustic Amplification Prefix electronics and built-in tuner.

Grand Orchestra

Taylor’s latest series comes in a multitude of tonewood combinations that were knocking out folks right and left with beautiful aesthetics, trademark crystalline responsiveness, and the same silky playability the company is renowned for. The Grand Orchestra shown here features spruce and mahogany and Expression System electronics.