Bourgeois guitar reviews

Bourgeois guitar reviews DEFAULT

From the January 2014 issue of Acoustic Guitar.

Read the PDF of the Full Article here

Bourgeois Aged Tone OM
Vintage-inspired OM with new top-aging
technique delivers great looks and rich tone.
By Teja Gerken

See the video review at

MAINE-BASED LUTHIER DANA BOURGEOIS has stood at the forefront of the vintage-inspired steel-string flattop field ever since building his first guitar in a dorm room in the mid-1970s. In the years since, he has collaborated with maker, player, and dealer Eric Schoenberg and C.F. Martin and Co. on the original batch of Schoenberg Soloists, a project frequently credited with bringing the OM (orchestra model) back to prominence in the 1980s. (The orchestra model is a 14–fret, 000-size, long-scale guitar with a 13/4-inch-wide nut originally built by Martin from 1929 to 1933.) Bourgeois employs a team of about a dozen luthiers, and the guitars have attracted such high-profile players as Bryan Sutton, Ricky Skaggs, and Ray LaMontagne.

Always on the lookout for ways to add an extra dose of “vintage” to his guitars, Bourgeois began experimenting with a specially treated spruce a couple of years ago. The result is Bourgeois’s Aged Tone series, which includes a variety of dreadnoughts and OMs. I had a chance to check out an Aged Tone OM built with Madagascar rosewood back and sides and an Adirondack spruce top.

New Aging Process

Bourgeois says that the things he values most about vintage guitars are their quick response, dry sound (with a good relationship between fundamentals and overtones), balance, and projection. Even though he is known for nailing all of these qualitiesin his guitars on a regular basis, he’s clearly happy to have found another ingredient to assist his quest. The spruce in the Aged Tone series is treated with a process called torrefaction, in which the wood is heated in an oxygen-free environment at a relatively low temperature. This process, which is undertaken prior to Bourgeois receiving the tops, reduces the oil, sugar, and resin content of the wood, reducing mass and weight and increasing stiffness—resulting in similar chemical transformations, Bourgeois says, that occur in wood over decades of air drying. Developed in Finland, the process was originally used on flooring, building sidings, and outdoor furniture, where it enhanced stability, durability, and appearance. A number of electric-guitar makers, including Anderson, Shur, Music Man, and others, have been using torrefied maple necks. Bourgeois also uses a new kind of finish on the Aged Tone series. Extremely thin, this cyanoacrylic finish combines the lowdamping factor of vintage nitrocellulose finishes with the durability of a modern, catalyzed finish.

Adirondack Meets Madagascar

For the guitar I received for review, Bourgeois paired an Aged Tone Adirondack spruce top with back and sides of Madagascar rosewood, a premier alternative to Brazilian rosewood. As a small shop, Bourgeois is able to be highly selective in the materials it uses, and the woods used on our review guitar are nothing short of spectacular. Though it doesn’t have the straightest or tightest grain (traits that some find attractive, but have little or no effect on tone), the top is perfectly bookmatched, with the center seam all but invisible and some areas with beautiful medullary rays. The top may look like it has been treated with some sort of aging toner, but this darkening is the true color of the wood itself, a result of the Aged Tone process. The back and sides of the guitar are made of some of the most gorgeously colored and figured Madagascar rosewood I’ve come across, without being so flashy that it would look out of place on a vintageinspired instrument. Matching Madagascar rosewood is used for the headstock’s veneer, where it adds a touch of class to the front view of the guitar.

Although the woods may look stunning, Bourgeois clearly chose them for their tonal attributes. You can get a good sense of the sound of this guitar simply by picking it up. As on a great vintage guitar, even the slightest knock on the body seems to sustain, and there is an incredible sense of life that is impossible to ignore even when you’re simply handling the instrument.

The other materials used on the guitar are also top-notch. The ebony fingerboard and bridge are dark black with no visible imperfections, the mahogany neck (which has a gentle V shape) is rich in color, and even the internal braces and other parts were clearly selected with care. And the OM’s craftsmanship matches its materials with flawless execution, beautiful finish, and lovely details such as a zipper-style backstrip and herringbone purfling.

Shining Bright Sound

OMs are often praised for their versatility, and, put simply, there was nothing I threw at this guitar that it couldn’t handle. With its 13/4-inch nut width and wide 25/16-inch string spacing at the saddle, the guitar has immediate appeal to fingerstyle players, who will also appreciate its quick response and ability to produce considerable volume without a lot of effort. But the Adirondack top also delivers the huge dynamic range and generous headroom the wood is prized for, making the guitar great for flatpicking as well.

I have played a lot of OMs built with Adirondack tops and rosewood-family back and sides, both vintage and new (I own a custom-shop Martin OM with an Adirondack top and Indian rosewood back and sides), and I’m often surprised at the wide tonal variation among these guitars. The Bourgeois was one of the brighter examples of this guitar type that I’ve played. And by bright I don’t mean brash or unpleasant in any way, but with singing trebles and an assertive overall tonal quality. The lack of dark, muddy bass tones means that it would work very well with a microphone, either onstage or in the studio. The guitar had an impressive stack of overtones, but it wasn’t so rich that the sound became cluttered. Even when I played note-heavy Irish tunes, such as a D A D G A D arrangement of “Banish Misfortune,” or such complex jazz tunes as Duck Baker’s arrangement of “Blue Monk,” this OM never sounded cloudy.

Besides playing the guitar at home, I also took it to an unamplified gig at San Francisco’s Bazaar Café. As I performed solo-fingerstyle tunes, as well as a few duets with other acoustic guitarists with whom I played single-note lines with a flatpick, the guitar continued to impress with its clarity, while delivering the volume and punch necessary to compete with other instruments in a purely acoustic setting.

Expectations should be high for a guitar in this price range, and I’m happy to report that the Bourgeois Aged Tone OM delivers in every way. If you’ve been looking for a high-end OM with vintage qualities, this one should be on your short list of guitar to investigate

at a glance

SPECS: 000 body size with 14-fret neck. Solid
Adirondack spruce top. Solid Madagascar
rosewood back and sides. X-bracing. Bolt-on
mahogany neck. Ebony fingerboard and bridge.
25.5-inch scale. 13/4-inch nut width. 25/16-inch
string spacing at saddle. Aged Tone finish
(cyanoacrylate family). Waverly tuners. Lightgauge
D’Addario EXP strings. Made in USA.
PRICE: $6,995 list.
MAKER: Bourgeois Guitars: (207) 786-0385;

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The most expensive products are going to garner attention. 

If you see a Ferrari driving down the street, you are probably going to turn your head regardless of your passion or understanding of cars. It’s in the middle of a crowded market that things really get interesting. What is Ford doing differently to Nissan? 

That’s when you really have to look hard and figure out what makes one of those products special. That theory, previously explained so eloquently by Malcolm Gladwell, is what is so interesting about reviewing guitars in the £500-£2000 price bracket: what top did the manufacturer use? Is the bridge the right choice for what you want? 

These are the real reasons we write about guitars in the way we do, and hopefully they are part of the reason you want to read what we have to say. We search for the little things that make guitars what they are, and explain what they could do for you.

So when we are given the opportunity to test a guitar that we could never buy, we don’t always leap to volunteer our services. However, when the guitar on offer is labeled ‘Banjo Killer’, it is hard not to be drawn to it. 

The nickname comes from the custom Bourgeois of Bryan Sutton, a famous bluegrass player that dubbed his own acoustic ‘Banjo Killer’, which has earned him a Grammy for Best Country Instrumental Performance.

The Bourgeois Slope D is the latest in the long line of models to come from Dana Bourgeois’ stable. After seeing the Beatles on The Ed Sullivan Show in 1970, Dana began playing and tinkering with guitars, and learning as much about the instrument as possible from industry forefathers such as Irving Sloane. 

In 1977, the first Bourgeois guitar was commissioned, and 40 years later, the Slope D has landed in our office via The North American Guitar in London, the UK’s sole Bourgeois supplier.  

Killer looks

Bourgeois describes the beautiful, natural top as bearclaw-figured Sitka spruce. The name comes from the idea that a bear has scratched at a tree, causing a cross-grain. And while the review model’s top isn’t as defined as some others you might see, the unique look from one guitar to another is part of this wood’s charm. 

It still has a cross grain that creates a lenticular effect, a shimmering optical illusion of sorts, but it’s the sound that makes it a favourite for many bluegrass players. Orbiting the soundhole are nine rings, much like Saturn’s, which suggest an out-of-this-world sound awaits the player, and just below is a vintage Tor-tis scratchplate to protect the precious spruce. 

The back and sides are made from figured mahogany for a rich colour and sound, and there is a single hole in the bottom. This can be filled by a wooden piece found in a box inside the heavyweight secure hardcase. The piece acts as a plug that fits snugly in the hole, and you can attach a strap to the guitar should you wish to stand and play, using gravity to ensure the wooden piece stays in place - a simple but clever system that shows off good craftsmanship. 

The binding that joins the top and back of the Bourgeois to the sides is called ivoroid, an attractive plastic substance that is popular among luthiers. And the back of the guitar has a straight herringbone pattern running up through the middle toward the neck, which is joined up with the snakewood head as a single piece. 

A dark-brown ziricote fretboard displays stunning figure, only interrupted by 20 fret markers and all the appropriate MOP dot inlays at frets three, five, seven, nine, 12, 15 and 17. And the head is also topped by ziricote veneer. The nickel-plated Waverly tuners have ebony-coloured pins that are smooth to the touch and comfortable to use.  

Bear sounds

After receiving the Banjo Killer, opening it, tuning it, and playing it, we left it for a day-or-two and found that the tuning was secure. The tuning remained so until we shipped it back to its rightful owner. 

This guitar is built well. Simple things, like staying in tune, is a sign of that. The Slope D size has a bottom that is larger than we tend to prefer. But where the action happens, at the waist, it was comfortable to play - and, boy, did it play well! 

We’re not sure we recall hitting duff notes while strumming through familiar songs, and ones we have only recently decided to learn or write. It’s quite remarkable to discover a neck that is so easy to play on. The spacing of the frets were accurate and allowed enough space to manoeuvre; there was no fret buzz anywhere along the neck. 

It offered versatility. We were at home playing ballads and pop-rock records, but like a switch the Banjo Killer lived up to its name and came alive with the use of a plectrum or a rougher finger strum. Blues, bluegrass and folk songs flourished with the warm mahogany sound that was punched through with the sharper bearclaw Sitka. 

The Slope D doesn’t offer an electronic pick-up, and while it would be a shame to see wires and implements attached to such a beautifully crafted instrument, the target players for a guitar such as this may appreciate a good sound system that can be amplified, without the use of an additional microphone stand.  

Bourgeois has created a fantastic guitar, as you’d expect. The construction is top-of-the-line and the sound it creates is simply sublime. The Banjo Killer certainly is expensive - but it is not a victim of its price point. For us, it might be a few hundred pounds more costly than it should be. 

But if you’ve got that kind of money, this could well be a tidy investment - especially because guitars, and how they play, is all about personal fit and taste at this level.  

The all-in-one mahogany Dana Bourgeois headstock and neck offers a taste of superiority, and the Central American woods create something fantastic - it would look beautiful as a pride-of-place instrument hanging centrally in a music room. This guitar truly is a pleasure to play. We might have to take out a few loans, but this guitar might well be worth it.

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From the January 2017 issue of Acoustic Guitar | BY ADAM PERLMUTTER

The Bourgeois L-DBO’s strong voice and shimmering reverb inspires an approach that’s different from normal, requiring fewer notes to say more with its luxurious tone.

The latest in Maine luthier Dana Bourgeois’ line of fine steel-string guitars, the L-DBO is a wonderful instrument. On the surface, it’s a tribute to inexpensive prewar flattops like Gibson’s L-00. The guitar has a sass that works well for country-blues fingerpicking, and in a blindfold test you’d swear it was 80 years old.

But the L-DBO feels like a whole lot more guitar than its original benchmark. For one, it’s incredibly playable compared with many vintage examples. The neck has Bourgeois’ trademark profile, super comfortable with a gentle V shape that’s ample, but not cumbersome. The action is moderately low and the guitar is set up for a range of techniques and approaches.

Even more impressive is the guitar’s depth of sound. The notes have a lively, three-dimensional quality, whether picked or strummed. It’s a particularly responsive instrument and has an almost symphonic range of tonal colors: a small-bodied boutique guitar with a much broader range of applications than its old-school appearance suggests.


The Old & the New

Vintage acoustic guitars are prized for their color and responsiveness, and—in what is no mean feat—Bourgeois has captured these attributes uncannily with the L-DBO. It is part of the company’s Aged Tone series that comes with a torrefied top, meaning the Adirondack red spruce used for the soundboard has been baked so that it behaves like it’s been aging for decades. The guitar was assembled with hide glue, which many luthiers find better than modern adhesives for the transfer of sound. A super-thin Aged Tone (cyanoacrylic) finish, mimicking decades-old nitrocellulose lacquer, completes the package.

Bourgeois also has rendered the perfect vintage sunburst finish, ranging from a warm, dark brown to a rich, deep amber. (The guitar is also available in a natural or opaque black finish.) Other details, including nickel Waverly tuners with ivoroid buttons, add to the instrument’s old-school vibe while lending modern performance. The L-DBO, like all Bourgeois guitars, has a bolt-on neck that allows for an easier reset than a traditional glued-in dovetail joint. 

The craftsmanship on the L-DBO is stunning. The fretwork is superlative and the body’s gloss finish is free of imperfections. Similar meticulousness is seen inside the guitar, where everything has been sanded and glued with great care and attention to detail.

A small-bodied boutique guitar at its very best, one with a much broader range of applications than its old-school appearance suggests.

A Winner in All Styles

Specialists in country-blues, ragtime, and similar old-timey styles should find the L-DBO delivers the goods, sonically speaking. It’s got that familiar midrange bark and is a terrific instrument for fingerpicking. But the guitar fares as well in a range of other contexts, both fingerpicked and with a plectrum. When I play tunes from the Great American Songbook using modern reharmonizations, including lots of closely voiced chords, the guitar has a brilliant clarity—nothing sounds even close to muddy.

I used the guitar when I transcribed the guitarist and luthier Buck Curran’s “River Unto Sea,” in an open Csus4 tuning (appropriately, as Curran is a former Bourgeois employee). The instrument loses none of its luster even when the sixth string is tuned down to C, and when I play the minimalist tune, with its repeating arpeggios, the guitar rings much like a piano.

Whatever I play on the L-DBO, I’m wowed by the robustness of its sound, projection, and sustain. It’s an addictive guitar to play—but not a cheap one. With a street price of around six grand, the guitar is much more expensive than its 1930s benchmarks. (In 1932, Gibson’s L-00, for instance, had a list price of $25, or $439.14 in today’s money.) Given its quality, sound, and adaptable personality, though, the L-DBO is a good investment for the discerning guitarist in search of the ultimate small-bodied companion.


At a Glance: Bourgeois L-DBO


14-fret 00 body size

Aged Tone Adirondack red spruce top

Mahogany back and sides

Ziricote bridge

Gloss sunburst finish



Ziricote fretboard

25-inch scale

1 23/32-inch nut

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Waverly nickel tuners with ivoroid buttons

Satin finish


Hide-glue construction

Hardshell case


$6,670 list/$6,003 street

Made in the USA

This article originally appeared in the January 2017 issue of Acoustic Guitar magazine.

Bourgeois Guitars - OM Vintage Heirloom - 4K Video

Bourgeois Guitar Review: OMSC [unbelievable!]

Bourgeois Guitars’ OMSC, complete with torrefied Italian Spruce and cocobolo back and sides is an incredible guitar.

In fact, it’s one of the few guitars that makes me drool every single time I play it.

In today’s guitar review, I’m going to be going over why this guitar is so special to me, and why designing your own guitar might be well worth the money.

Before I go any further, I want to thank Dana and James at Bourgeois Guitars (visit their website here) and Matt at Eddie’s Guitars in St. Louis (visit their website here).

Bourgeois OMSC First Impressions

This custom OMSC was created with the help of my good friend Matt. Matt has years of experience working with guitars and it was such a treat to work with him on this beautiful guitar.

It’s truly incredible to plan out a guitar on paper. The possibilities are endless at that point.

But after a while, you have to narrow it down to the essential features that you want out of a guitar.

Honestly, this Bourgeois custom OMSC exceeded all my expectations for what I wanted in a custom guitar. In addition, it really does make me drool every time I play it!

The Specs

The Bourgeois OMSC has a torrefied Italian Spruce top, which is super responsive and gives it a vintage look.

There’s an ebony bridge with bone bridge pins and saddle. There’s also the DB Herringbone signature inlay that looks classic and organic on this guitar.

On the back, there’s master grade cocobolo…and it is a visual spectacle to look at. For those of you who don’t know, cocobolo is similar to rosewood in its tonal quality, but a little heavier on the overtones than rosewood.

The Bourgeois OMSC has sustain for days, which I can almost wholly attribute to the cocobolo back and binding.

As far as ergonomics go, this guitar has a 12-fret neck but also includes a cutaway. This give you access to the upper register without having to do any hand gymnastics.

Interestingly enough, the bridge is positioned lower on the lower bout. This results in opening up the entire top for extreme resonance.

Final Thoughts on the Bourgeois OMSC

It’s been so much fun being able to play my Bourgeois OMSC. If you have the chance, don’t be afraid to give a custom-built guitar a chance.

While expensive, the process is so incredibly rewarding I can’t recommend it enough. For those of you who are always looking for the perfect guitar but haven’t found it yet, this is a way to get close to the sound you’re chasing.

Thanks again to Dana, James, and Matt for helping me design this guitar and for building it.

Be sure to leave a comment below to let me know what you think!


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The Big Review: Bourgeois Legacy Series 000 DB Signature Deluxe

Since his humble beginnings in a one-man shop in 1977, Dana Bourgeois has garnered – and, more importantly, maintained – a reputation for making high-performance acoustic guitars based on iconic Martin designs, but with an in-depth approach to voicing that has come to define the Bourgeois sound. Now at the helm of a 20-strong team creating 400 instruments per year, Bourgeois is an established name catering to the acoustic connoisseur looking for something very special indeed.

While Bourgeois offers guitars at a range of price points, this beautiful instrument, which purrs as we remove it from the snug TKL case, is a 000 DB Signature Deluxe model featuring top-end specs chosen by Dana himself. Lovers of Bourgeois guitars may well be familiar with the DB Signature line but this instrument turns things up a notch – it is the Deluxe model, after all!

The first thing we notice is that, with the exception of the celluloid pickguard, a barely-there ivoroid fretboard coach line, and the subtle use of bone for the fretboard inlays, bridge pins and side position markers, everything on the body of this guitar is made from wood – there are no plastic bindings or purfling here. Instead, this instrument is bound with outrageously figured Hawaiian koa which adds a deep chatoyance to the edges of the body, fingerboard and headstock. This is accompanied by two-tone herringbone soundboard purfling, and it’s an elegantly judged and balanced combination with neither feature distracting from the other.

Bourgeois Legacy Series 000 DB Signature Deluxe

Typical of vintage-meets-modern approach characteristic of Bourgeois, this guitar features a torrefied Adirondack spruce soundboard which is entirely hand-voiced. This is a particularly attractive slice of wood with beautiful winter-growth lines and just a touch of bear claw on the edges. A gentle tap behind the bridge reveals a lively sweet spot which bodes well.

Bourgeois Legacy Series 000 DB Signature Deluxe

The back and sides are made from Madagascar rosewood, often referred to as ‘Mad Rose’ by people who enjoy shortening things. This is a rare and desirable Dalbergia that should not be thought of as a substitute for Brazilian rosewood – we’re well past that now. Of note is the elegant set used for the back of the guitar, which is strongly figured with a flash of golden sapwood and neatly bisected and accentuated by Bourgeois’ signature marquetry back strip. It is a very good look.

The one-piece 14-fret mahogany neck is slim with a hint of a vintage V-carve and looks inviting from the shapely heel to the sharp volute. Tuning duties are taken care of by a set of gold Waverlys with snakewood buttons (but of course) and the nut and saddle are superbly shaped and polished bone.

Bourgeois Legacy Series 000 DB Signature Deluxe

In another marriage of vintage and modern construction techniques, the guitar was created using animal protein glue throughout and its high-gloss finish is Bourgeois’ super-thin Aged Tone cyanoacrylic formula, which replicates the response of an instrument after decades of playing. The back of the neck has a satin sheen for quick, squeak-free operation.

Although the body size is identical to an OM, this instrument features a shorter 25-inch scale length. Having experienced the magic of several vintage 000’s over the years we are expecting a slightly warmer and more complex voice but with the whip-crack response characteristic of a smaller soundboard than we’d find on a dreadnought or jumbo.

Bourgeois Legacy Series 000 DB Signature Deluxe

In use

000 models have traditionally found favour as instruments to accompany vocals and, with this in mind we kick off, with a light pick and some of the expensive open 9th chords beloved of the tasteful songwriter community. The results are frankly delicious. The guitar has a pleasingly immediate response and while on other instruments the combination of Adirondack over Mad Rose can often veer towards the spikier transient, in this case we get a silky attack that blooms into a long, smooth and very musical decay demanding just a touch of vibrato to bring out the overtones. To be honest, it’s pretty dreamy.

Bourgeois Legacy Series 000 DB Signature Deluxe

Digging in with the pick reveals both a lot of headroom and also a surprisingly wide dynamic range. There’s a magic to the notes when driven hard – a near perfect balance of focus and articulation with warmth and soul – and even the most gentle of strums sounds rich and characterful.

Dropping into Orkney tuning (CGDGCD) from a standing start can be a shock for any guitar but the Bourgeois takes the downward shift in its stride. There may not be the tectonic bass response of a C-tuned jumbo but what you get is far more useable. It’s an articulate and beautiful voice that responds immediately to a wide variety of hand positions and attacks. Very impressive.

Bourgeois Legacy Series 000 DB Signature Deluxe

Due to the scarcity of the woods used in this instrument, the quality of the build and the corresponding price-tag, the DB Signature Deluxe is unlikely to become a first choice acoustic for heavy touring. However, drawn in by its captivating acoustic voice, we set up a spaced pair of Gefell M300 mics to test its potential as a recording instrument. The results are superbly detailed and require no studio wizardry whatsoever in order to sound top-drawer.

Bourgeois Legacy Series 000 DB Signature Deluxe

In this golden age of acoustic-guitar-making there are several different schools of sonic excellence, from the orchestral textures of the Bay Area to the wild steel of Northumbria, and the Martin sound is by no means the final word in superlative acoustic performance. This instrument, however, is a ravishing example of that vintage Nazarene voice. Perhaps the final indication of just how engaging this instrument can be is that by the time we lovingly pack it up for its return to Coda Music, the strings are all but dead and we’ve written several new songs. It was a genuine pleasure.

Bourgeois Legacy Series 000 DB Signature Deluxe

Key Features

  • PRICE £7,999 (inc hard case)
  • DESCRIPTION 6-string acoustic guitar, made in the USA
  • BUILD Solid Madagascar rosewood back and sides, solid torrefied Adirondack spruce soundboard, 14-fret mahogany neck with ebony fretboard. Koa body, fretboard and headstock binding. Ebony bridge with bone saddle and bridge pins. Bone nut.
  • HARDWARE Gold Waverly open back tuners with snakewood buttons
  • SCALE LENGTH 25”/635mm
  • NECK WIDTH 44.7mm at nut, 56mm at 12th fret
  • NECK DEPTH 22mm at first fret, 23.5mm at 9th fret
  • STRING SPACING 38.9mm at nut, 59.7mm at bridge
  • WEIGHT 2.25kg/4.9lb
  • FINISH Aged Tone super-thin high gloss cyanoacrylic (body) satin (neck)

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The Most Versatile Bourgeois Guitars Explained - 2021 Winter NAMM

Bourgeois Aged Soloist Acoustic Guitar Review

It’s pretty common knowledge that the longer a guitar is played, the better it sounds. This concept is why well-loved, older guitars are usually superior to newer or rarely played guitars of the same model. However, Bourgeois has recently produced their Bourgeois Aged Soloist acoustic guitar whose dried body proves you don’t have to have an old guitar to get that same excellent tone.

Torrefaction: The Superior Aging Imitation Process

As a guitar is played and ages, its tone woods dry. That lack of moisture is what gives older guitars move better, giving it more volume than a newer guitar. Through the baking process of torrefaction, Bourgeois has closed the wood’s pores and crystalized the raw resins in the wood.

The same process that was used to make wooden siding more resilient makes guitars transfer energy better as you play. Torrefaction is the safest and most reliable way to artificially replicate the aging process, especially compared to the more crass method of propping your guitar up to a loudspeaker.

Bourgeois Takes Solo Approach to Soloist Design

Whereas no one can quite match Collings’ knack for construction and composition, Bourgeois guitars are not as conservatively designed as other boutique manufacturers. That said, you can only take an idea so far before you go out-of-bounds in the guitar’s construction. The Bourgeois Aged Soloist is one example of Bourgeois’ successful experiments with its:

  • Ebony pyramid bridge
  • Ziricote binding
  • Cutaway body
  • Premium tone woods

The unique addition of an ebony pyramid bridge accompanies the Ziricote binding. Ziricote is a hard, dark, dense wood used for aesthetic purposes. This Mexican rosewood is not common in other guitar manufacturers, but you frequently find it in Bourgeois guitars. While beautiful, Ziricote is not a good tone wood. Therefore, this guitar only incorporates it to highlight the minimal cutaway on this OM guitar. The cutaway gives the Bourgeois Aged Soloist a unique aesthetic and easy access for the player, yet its design is non-obtrusive on the guitar’s body.

Premium pieces of Sitka spruce and Brazilian rosewood are held together with hide glue, an older style of glue to match the guitar’s aged status. This glue dries harder, making it easier to repair without affecting the acoustic guitar’s playability.

Our Verdict

The Bourgeois Aged Soloist is easily in the top 3 most versatile Bourgeois guitars. It has a lot of headroom to take advantage of with a pick—which is unusual for OM guitars—but it still has a fresh, bright tone to bring out for finger stylists. You don’t get quite as warm of a tone as you would with other rosewood guitars, but its tight sound and overall volume makes it a great performance or recording guitar.

Get Your Hands on This Bourgeois Aged Soloist Today

Contact Eddie’s Guitars at 314-781-7500 for More Information

This entry was posted in Bourgeois, Acoustic Guitarsand was tagged with OM guitars, Bourgeois Aged Soloist, acoustic guitars by Eddie's Guitars. ← PreviousNext →


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