I've found a lively market for my classic guitars among players whose first instrument is a jazz or steel-string guitar, and as a result don't want to forgo the features that they have become comfortable with, such as narrow, arched fingerboards, low action, cutaways, stage pickups and distinctive aesthetic design.
Typical among these is the dramatic Brazilian rosewood/ German spruce classic seen to the left, which features a compound cutaway (note how the side fairs seamlessly and comfortably into the heel). The guitar also features a Fishman dual pickup system (note the small mic in the soundhole). The noted jazz/fusion guitarist, Joe Belmont can be heard playing this instrument, accompanied with traditional South American zampoņas, or panpipes, on the following sound clips from the latest Viva Quetzal! CD Children of the Sun.
Fairing the cutaway smoothly into the cheek of the tapered heel requires that the side be hand bent in two axes at once. A fairly difficult thing to pull off, but worth it for the unrestricted comfort that it allows when playing in the upper positions.. This guitar is slightly wedged, and made from curly Koa
An abalone/marquetry soundhole on a classic guitar? Outrageous? Not a bit!. Shell incrustation was the norm on European gut-string guitars during the nineteenth century, until Torres developed the Spanish style which included only moorish-inspired wood marquetry decorations--but he was not loath to include pearl and abalone on occasion. When carefully blended within a marquetry frame and kept to a tasteful minimum, pearl incrustation can be give a classic guitar a unique, modern look.