From the Luthier

“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 responds to my every touch and supplies anything that is requested of it.

I want a guitar that is as beautiful and interesting to look upon as it is wonderful to play.

That is the kind of instrument I build.” — Christopher Cozad

Dauphin

This 16 inch guitar is loaded with innovations! I make extensive use of Carbon Fiber (front plate / soundboard bracing, side bracing, kerfing support, bridgeplate, neck) and a composite material called Rocklite Ebano (headplate, heel cap, fingerboard, bridge, binding). Design features include a relaxed Venetian cutaway, Shoulder Port™ (a shoulder-positioned soundhole), an Everett-style arm bevel, an elevated fingerboard with a true zero fret, an inline headstock (no 15 deg back tilt), No-Pin™ bridge, copper wire fingerboard inlay, and more. The sides and back are East Indian Rosewood. The front plate is Sitka Spruce with heavy bear claw accents. The parabolic Fountain™ bracing on both the front and back plates is comprised of laminated Red Spruce and Carbon Fiber and is tied into the large Spanish Cedar heel block. The 5-piece Mahogany neck features a Dragonplate D-Tube in place of a steel truss rod. For even more comfortable playability, I chose a 24.75 scale, joining the neck to the body at the 12th fret. Bubinga dresses up the arm bevel, bridge and fleur de lys inlays and Paua makes an appearance in my logo inlay. NitroCellulose lacquer finish.

Dauphin - Front
Dauphin - Front


Dauphin - Back
Dauphin - Back

The Continental

The body of this guitar is loosely modeled after a 15 inch Martin 000, though it is deeper (3-15/16″ at the neck and 4-9/16″ at the tail). The sides and back plate are East Indian Rosewood, with a Western Redcedar front plate that features a Red Spruce scalloped double-X bracing pattern which accounts for it's surprisingly bright tone; surprisingly bright for a cedar-topped guitar. Gabon ebony binding, traditional pinned bridge, fingerboard and headstock. Bound soundhole. The 5-piece Mahogany neck has a Martin-style dual-adjustable truss rod. 14-fret, 25.4 scale, Mahogany and Paua inlays. French polished shellac finish.

The Continental - Front
The Continental - Front


The Continental - Back
The Continental - Back

Cannon Beach

This guitar is loosely modeled after a 16 inch Taylor Grand Auditorium with a Venetian cutaway. The sides and back plate are Oregon Myrtle, with a Sitka Spruce front plate. I used a standard X-bracing pattern, though the tapered braces are laminated Red Spruce and Rosewood. The bass response of this guitar is immediately noticeable. Gabon ebony headplate, Macassar ebony binding, traditional pinned bridge and fingerboard. Bound soundhole. The 5-piece Mahogany neck has a Martin-style dual-adjustable truss rod. 14-fret, 25.4 scale, Myrtle rosette, Myrtle, MOP and Paua inlays. NitroCellulose lacquer finish.

Cannon Beach - Front
Cannon Beach - Front


Cannon Beach - Back
Cannon Beach - Back

Thunderclap

This jumbo guitar has a 17 inch body similar to a Taylor Grand Orchestra. It features a Venetian cutaway and Everett-style arm bevel. The sides and back plate are Claro Walnut. The front plate is Flamed Redwood with a standard X-bracing pattern, though the tapered braces are laminated Red Spruce and Carbon Fiber. The guitar is surprising lightweight, due in part to the lack of a truss rod. In it's place is a Dragonplate D-Tube. Walnut headplate, backstrap and arm bevel. Macassar ebony binding, No-Pin™ bridge and fingerboard. Bound soundhole. 5-piece Mahogany neck, 14-fret, 25.4 scale, Rosewood rosette, Paua inlays. Cyanoacrylate finish.

Thunderclap - Front
Thunderclap - Front


Thunderclap - Back
Thunderclap - Back

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