Beardsell (used, 2012) Model 3DM Acoustic Guitar

Tag No 32-4116 Used
This item is NOW ON SALE!

#156, in excellent minus condition with Ameritage hard shell case. This Guitar is part of the "STAN JAY COLLECTION."

We present a guitar that emanates from nearly the geographical center of Canada (in the southern tier, that is) that has such an incredible range of frequency, ease of use and level of acoustic transparency as to make our  entire corporeal being encounter extended ecstasy and exhilaration.   We are deeply in love, and being in love with a guitar is SO much simpler and uncomplicated than being in love with a biped.    It responds to your touch, it purrs with emotional commitment, it yields to your every mood and desire.   It restores your sense of all that is good in the world.   

Due to dryness, this guitar developed a back crack which will be glued and cleated by our repair shop.

The next three paragraphs are from our description of the last one of these we received.   There are some changes, however, and they are outlined in the fourth paragraph below:

Allan Beardsell of Winnipeg, Manitoba, Canada is just now starting to make a 3G model guitar and this prototype is one of the first.  Up until now he has made his larger 4G model guitar but is now embarking in a direction that will, we suspect, be extremely satisfying to fingerstyle players – the 16” wide 3G model.  Allan says this about the former flagship model, the 4G which evolved out of his 4A (he made a 4A into the world of smaller guitars).  The 4A was his original design for the side-ported guitar. The G series of his guitars have a deeper body, wider waist and laminated "platform" sides, plus all the usual features offered on his acoustic guitars. The 17" body offers a full range of sonic possibilities.

 He says:  “When I was playing acoustic guitars in clubs and auditoriums, I would be playing behind singers, and sometimes with larger bands, going between fingerstyle and flatpicking. I was having a hell of a time hearing the guitar as a dynamic voice. When I was hearing only the electronic fold back in the monitor I would end up playing as hard as possible all the time just to feel present in the mix on top of the compressed character of the pick up. It meant my playing suffered and I broke a lot of strings. This got me thinking about projection and volume, resonance and how these things define the way we interact with, respond and use a musical instrument, especially these days when amplification is virtually a given. I wanted to figure out how to create a situation where the instrument speaks to the player first, with all the dynamic of an acoustic performance –- that's where the side port comes in.”

 The basic Beardsell guitar comes with the following features: a Laskin Armrest, a sharp cutaway, a rib rest on the back (which we call a rib roast), a neo-classical ebony fingerboard with a crème stripe on each side and a one fret extension, the  Beardsell low neck profile, a hard shell fitted case, 5A or Master grade Lutz spruce top and is equipped with Gotoh 510 “Super Machine Head” tuners, in this instance in black chrome.  This guitar, however, is made from exquisite and exotic woods, and has many unique features.   It has a novel, asymmetrical, bi-level plateau’d headstock with a boomerang and a squiggle forming an interplanetary letter “B,” and hosting alternating crème and black rectangles as a center strip – the third crème strip actually being the truss rod cover, a semi-matching (to the headstock decoration) crème and black “parade of the tapeworms” type top purfling, and a Scintillating Scotoma pattern around the huge (4 13/16” wide) oblong soundhole -- big enough to allow the owner to insert both hands inside the guitar to prevent the instrument being stolen by perverts.   The backstripe is a 19” long band of alternating black and crème but unlike any other builder, the distances between the panels gets progressively longer.  The stylized “B” appears again on the triangular heel cap; the back of the headstock (the underlay) is black and there is a small, shallow hand stop, or volute, on the back of the headstock.   None of these novel artistic appointments prepares one for the biggest visual thrill of all, and that’s the Brazilian Leopardwood back and sides.    Looking considerably more variegated and impressive than quilted mahogany, the back and sides resembles the scene in so many movies when the camera pans back to view from above tens of thousands of people gathered en masse in a massive field or plain.

 The builder says:  “This 3G-MS measures 16”at its lower bout, making it a mid-sized model; it is the only guitar I make with the full sized front soundhole.  The back and sides are Brazilian Leopardwood – thought by some to be a relative of lacewood but a bit more heavy and dense.  This striking material is known for its dramatic figure, which is created in the form of medullary rays.   The bearclaw top is Lutz wood which is actually a type of hybridized Sitka and Yellow Spruce.  The wood supplier that harvests it makes up special names for each of the trees that he cuts down and he called this tree 'Leopard Claw' which is entirely coincidental that he would again invoke the princely Leopard.  The neck is Honduras Mahogany, the fingerboard black ebony; this just-completed example has one oval side port on the upper bass bout.  There is a mini bevel to the armrest – which I created in a slightly different way – I cut it right through so the alternating crème and blue purfling runs up to the edge of the armrest and then continues on the other side.   The bindings are Macassar ebony; the purfling lines are made from holly stained to a dark blue color.  The provider of this material calls it 'Allowood'  – they have a way of dying the wood before it is cut.”  For the curious, the term "Allowood" is obscure but if you look this up online you’ll find a site that says “Allowood is impregnated with a resin" and a third citation that says “it is a renewable South American hardwood that has been dyed to look like several popular species.”   Whatever it is, it is gorgeous.  

We found a good description of Leopardwood on the <devoswoodworking> web site where they say: “Leopardwood is often confused with Lacewood, because they have similar characteristics. However, Leopardwood is denser and it is darker in color.  Extremely texture-rich and visually stunning, its sapwood is reddish-brown, while the heartwood is chocolate colored. The one thing that separates this wood from others is that it features "leopard spots" inside the wood itself. The spots are a lighter brown and give the wood a unique textured look and feel.”  The internal bracing is most unusual -- the closest approximation we know of is found inside a McPherson brand guitar whose internal braces are composite sandwiches of three joined woods.  In this instance, however, the back brace pattern resembles, in its singular way, a star’burst.  The neck shape is asymmetrical.  Beardsell’s neck is called a “teardrop V” which is “weighted” on the treble side so that it fits the hand more comfortably.    It also provides a flatter surface for the thumb. The bridge is like nothing else we've seen - being a bayonet shaped on the treble side in a vague but powerful interpretation of Kasha.  Allan calls this model a 3G MS – in which the “3” means that it is this builder’s third variation of the steel string.

The sound of this instrument is exquisite beyond words – crispy yet warm, full, woody and wonderful in every auditory way.   We have discovered something important here – a North American builder who is re-setting the scale for what is possible in the world of high-end luthiery.  We are enthralled with every aspect of its outstanding originality, panache and refinement.  We believe that if you get a chance to hear it you will crave this guitar like a Green Tree Frog craves crickets (or the occasional moth).

Here's what the builder says about this particular guitar:    There are a few differences between this guitar and the last one I sent you - the numerical model designation refers to the size.   3 is the mid-size 16" body -- G is the steel string designation and MS was , I think just to describe its mid-size.  That guitar was the prototype for that design, believe it or not and I just gave it a name that I immediately thought better of. I have been doing a lot more multi-scale guitars , so the MS now stands for this. Because it was the first of this series of large soundholes in the top I decided to re-designate this style as DM -- as in D-hole Main soundhole., with single side port. Not exactly clever, I know, but there it is.

The pickup is the LR Baggs Anthem SL, which is a slightly simpler version of the Anthem in that you have to use a small screwdriver to adjust the mic/transducer mix and no tone control.  Personally I prefer this as I like to set things and leave them.

I did a couple of things on this guitar that are not on the basic menu, namely the two full bevels front and back, and the top wood.  The top is the same Lutz species as the top on that last  guitar, but has a much rarer kind of figure.  This comes from the very sought-after 703 tree from the Kermodie spruce mill in Terrace BC.  The back of the neck does have a Beardsell-designed off-center teardrop shape , if only slightly.

 NOW ON SALE!  WAS $5775

Our SALE Price is $5,195.00.

Additional Photos (click for expanded view)

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