Models
Aurora
The great advantage to having an extensive history in guitar repair is that you can get a very detailed look at the functionality and durability of a wide range of instruments. Often, you will see the same types of problems emerge time after time in well used instruments. For instance, some guitars are known for being prone to cracks and breakage in the headstock; others almost routinely have neck angle distortion and soundboard deformation over years of constant string pull.
These issues indicate to me that many guitars have fundamental flaws in their design and structure. Every guitar will of course have a finite lifespan; however, I believe that the best ones should be designed and built to perform well for decades without requiring extensive repair or restoration. This is a very important factor in the design of Andrews guitars. With proper care and maintenance, I intend for my instruments to be faithful, lifelong companions to their owners.
The sound and performance of guitars are considerations of vast subjective preference. Since there are countless styles and idioms of guitar music, and an ever widening breadth of playing techniques, no one guitar can be all things to all people. That said, a truly fine guitar will show its brilliance the instant you pick it up and start to play. You will find great pleasure in every aspect of it, and you will want to spend lots of quality time exploring its musical nature. Producing guitars that have that plus ultra character is my mission in life.
I have a triad of factors which must converge in every guitar: First, it must have a very compelling, colorful voice that will lend itself to a wide range of music, and styles of playing. It's got to have a sound you never get tired of. Second, it must have excellent functional integrity, with a proper setup. Playing a fine guitar should never be a chore. It should be effortless and fun. And third, the guitar should be a thing of elegance and beauty, a pleasure to look at, with no discordant elements in its physical makeup. One cohesive unit. When these three factors are combined in equal measure, the guitar will be a fully realized work of craft, technology, and art.
The guitar models below are the synthesis of the best ideas of design, functionality, and beauty that I've come up with over the years. These are not immutable designs. They will continue to evolve as long as I continue to build them. In this respect, I believe that intelligent innovation trumps obedience to strict tradition every time.
This 16.25” Archtop guitar is my flagship model. Classic in form and adventurous in aesthetic.
Hand carved top and back plates tuned how you want.
Made individually, the design aesthetic will change from one to the next so no two will be exactly alike. Available with a fixed or adjustable bridge, cut-away or non, central oval sound hole (my preference), “F” holes and sometimes more experimental placement of the sound ports.
Three options for the tail-piece: Violin style, hardwood friction fit hardtail and coming soon, cast bronze of my own design.
Two in process
Starting price: $6200
Eclipse Style-A
Shallow-carved top, concert sized guitar with a flat back for added punch and resonance.
Old style meets a fresh approach:
Hand carved top plate with broad re-curve and low crown point combine with a radiused back braced to be an active sonic component. The result: A surprisingly loud, responsive, AND resonant instrument with the power to cut through in a combo setting and sweet enough for a soloist.
Available with a fixed or adjustable bridge, Cut-away or non, with an oval sound hole; with rosette or without. Hand cast bronze tailpiece is standard.
Two in process
Starting price: $4300
Eclipse Style-F
Concert sized flattop steel string guitar based on the same pattern as the Style-A.
Hand tuned top bracing allowing for the optimization of responsiveness for the individual, be it fingerstyle or plectrum players.
Modified X-braced top with the same sonically active back plate as the Style-A.
Available in a cut-away, standard or slotted headstock, oval sound hole with or without a rosette.
Two in process
Starting price: $3200
1518
Small jumbo made from the mold of the Aurora. Lower bout measures 16-1/4”.
Hand tuned top bracing allowing for the optimization of tone and responsiveness to individual taste- whether to be played primarily fingerstyle or plectrum.
Modified X-braced top with the same sonically active back plate as the Style-A.
Available in a cut-away, standard headstock, oval sound hole with or without a rosette.
Pictured is an early example with a round sound hole.
Two in process
Starting price: $3400