Guitars

I want to hear a sumptuous acoustic guitar tone, one that floods the senses, inspires new music and makes the instrument difficult to put down.

I want to hold an amazingly comfortable guitar that is responsive to my touch yet supplies anything that is requested of it.

I want to create fond memories with my guitar.

That is the kind of instrument I build.

Christopher Cozad, luthier

Models

Cozad guitars are currently offered in 3 models, readily distinguished by lower bout width, and a variety of options:

Model Width Depth Nut Scale
C-15 15″ 4.625″ 1.75″ 25.4″
C-16 16″ 4.75″ 1.75″ 25.5″
C-17 17″ 5″ 1.75″ 25.5″

Unless otherwise specified, standard features on every guitar include the following:

  • Multi-piece carbon fiber and wood necks, laminated for structural integrity and individually shaped to fit the player
  • Carbon fiber and wood laminated bracing, offering unparalleled strength-to-weight ratios
  • Wooden binding and purfling, selected to best compliment the guitar
  • Surfaces may be protected using a waterborne Lacquer (no VOCs) spray finish or a french-polished Shellac.

Custom features, available on any guitar, include the following:

  • Soundboard material selection
  • Back and sides material selection
  • Headplate, fingerboard and bridge material selection
  • Nut and saddle material selection
  • Tuner (machine head) selection
  • Cutaways, arm bevels, and rib rests
  • Alternate bracing patterns
  • Alternate soundhole location(s) and soundport(s)
  • Custom inlay
  • Pickup selection (if desired)

C-15

Cozad C-15
The deep bodied C-15 is well-suited to stylists preferring a smaller instrument with a bigger voice

Cozad C-15
Cozad C-15 Western Redcedar and Indian Rosewood
Cozad C-15
Cozad C-15 Fretboard with Mahogany vine inlay
Cozad C-15
Cozad C-15 Ebony bridge with Barbera saddle pickup
Cozad C-15
Cozad C-15 5-piece Mahogany neck
Cozad C-15
Cozad C-15 Headstock with Grover tuners
Cozad C-15
Cozad C-15 Headstock with Ebony faceplate and Paua logo
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C-15 Specifications:

  • Upper Bout: 11.25″
  • Waist: 9″
  • Lower Bout: 15″
  • Body Length: 19.5″
  • Body Depth: 4.625″
  • Scale Length: 25.4″

This example features a Western Redcedar soundboard with Indian Rosewood back and sides. Visual features are Ebony headplate, fingerboard, binding, soundhole binding, pinned bridge and end graft, Paua rosette and logo, Mahogany vine inlay, and BWB body purfling. This instrument utilizes a double-X Red Spruce bracing pattern and is hand finished / French polished with shellac.


C-16

Cozad C-16
The C-16 has pleasing curves, a well-balanced output, is comfortably-sized, and an all-around performer
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C-16 Specifications:

  • Upper Bout: 11.75″
  • Waist: 9.5″
  • Lower Bout: 16″
  • Body Length: 20″
  • Body Depth: 4.75″
  • Scale Length: 25.5″

This example features a completely removable Mahogany neck, Sitka Spruce soundboard with spalted Oregon Myrtle back and sides. Visual features are Macassar Ebony fingerboard and bridge, Ebony headplate, binding, soundhole binding and end graft, Myrtle rosette and logo, and Venetian cutaway. This instrument utilizes Spruce and Rosewood laminate bracing.


C-17

Cozad C-17
The C-17 boasts outstanding bass response, a huge voice, power on demand, and is a finger stylists’ dream

Cozad C-17
Cozad C-17 Sinker Redwood soundboard with Indian Rosewood rosette and Paua inlay
Cozad C-17
Cozad C-17 Claro Walnut back and sides
Cozad C-15
Cozad C-17 Headstock with Ebony faceplate and Paua logo
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C-17 Specifications:

  • Upper Bout: 11.75″
  • Waist: 10.5″
  • Lower Bout: 17″
  • Body Length: 20.5″
  • Body Depth: 5″
  • Scale Length: 25.5″

This example features a curly Sinker Redwood soundboard with Claro Walnut back and sides. Visual features include a Macassar Ebony fingerboard, pinless bridge, and headplate, Ebony body binding, soundhole binding and end graft, Walnut and Paua rosette, Paua “Soundwaves” inlay, Venetian cutaway and a comfortable, transitional arm bevel. This instrument utilizes a traditional X-bracing pattern made from Red Spruce and Carbon Fiber laminates, and is spray finished using waterborne lacquer.

I'm playing my instrumental "Run, Don't Walk", recorded direct using a James May UltraTonic pickup (attached to the bridgeplate, inside the body of the guitar). I have added a little reverb, but no EQ.

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