70's Martins are notorious for a number of problems - and I had this one for years before Leo Posch finally fixed all the issues.  He did a new, larger, correctly placed bridge with perfect compensated intonation and a new pickguard that isn't so tightly affixed to the top that it warps the top when it shrinks.  This guitar has zillions of finish checks from years in front of Bruce Barlow's and Leo Posch's woodstoves.  Also has the weird Stuewe wear where I beat the top just above the finger board.  Plays Great.  It's a too-skinny neck for the way I play now, but it was my first guitar so it's a keeper.

I bought this guitar in about 1982 from Richardson's Music.  I recently bought a compensated aftermarket bridge and had Leo Posch straighten the neck (no truss-rod - he had to heat it and clamp it).  It now plays perfectly and sounds great.  Many knobs.  More switches.  I saw someone on-line describe this guitar as "jazzmasterish" - or a "GumbyMaster".  I think that's more accurate than Lexington.

Brad Nickerson made this guitar for me in 1990 when I was playing with Craig Eastman and the Sundogs.  Craftmanship is very good on this and the curly maple back and sides are stunners.  Brad was fairly early in his career and jointed a finger off making this guitar which I always felt terrible about.  If you play in a band with a Stratocaster (Jim Henry) and a Fiddle or Lap-Steel (Craig Eastman) you need a guitar that stays out of the way of all that treble.  I was truly a swing rhythm player in the sun-dogs but have really not used this guitar much since then.  It's a beautiful jazz guitar that takes no energy to play and has retained it's playability and intonation with virtually no-work for all these years.  The inlays were designed to be a stylized "S" and sort of match the weird haircut I had sticking out behind my hat when the sundogs were at their most popular.  I am keeping it for when a recording needs a jazz guitar sound - but so far it hasn't been on a recording since the Sundog's Blues Comes a Shakin'.

This is the first Finger style guitar I owned.  I wrote dozens of songs on it.  I do love this guitar, but it's not really my style anymore.  It's been for sale on the Mass-Street Site for some time - I may just bring it home if it doesn't sell soon.  The wood in it makes my environmentalist family queasy - Madagascar is increasingly rare and wood with this kind of figure is really not common.  I think I will go pick it up this afternoon and put it next to my Posches.  I need to take a picture too...

This was my first Leo Posch Guitar - built for me to specifications.  It's a little 0 made of Honduran Rosewood and Adirondack Spruce with walnut bindings and pegs from wood that came from my dad's family pasture.  It's tricked out "45 style" like some Martin right out if 1928.  There is a flock of birds on the fingerboard.  This is my travel guitar - it goes with me on airplanes and will fit in the overhead of an Embrear Jet.    It's also my go-to inspiration machine for songwriting.  I wrote some of my favorite songs on this little gem.

This Nick Lucas Gibson homage is a guitar that turns heads at live shows for its looks and its sound.  I bought this one off the shelf at Mass Street Music.  The back and sides are stunning and the "sunburnt" top is one of Leo's specialties.  The maple in this guitar makes it project in an unexpected warm but clear voice.  Like all of leo's guitars, it's perfectly balanced and plays smooth as silk.  At first I used this guitar almost exclusively for open-tunings - now it's becoming a guitar I love to record songs in standard tuning at the nut or a capo'd at 3rd or 5th. 

Fan-Fret Guitars are really designed with open-tunings in mind - the scale is shorter on the treble side so that when you are playing slack-key tunings the tension is more consistent across the neck.  The other amazing thing is how comfortable it is to play - the angles of the frets provide extra room for fingers on the same fret on adjacent strings.  Also, like all my Posch guitars, it sounds positively huge on recording and live in any setting. 

This I recently acquired from the collection of Photographer Robert Corwin.  He is a noted "guitar porn" photographer.  The link to his site is http://www.vintagemartin.com/sale_electric.html

His photography is better than mine.  I had one just like this back in about 1982.  It's great in Nashville Tuning for ultimate TWANG.

I had never owned an OM (I don't know why not) and was about to buy a Collings OM cutaway that sounded so good on some of my up the neck songs with lots of ringing drone notes.   On a trip to Leo's to have one my guitars tweaked, he showed me this which had been in his shop for a long time after not having sold at Mass Street for a while when it was first made.  The top has honeyed beautifully and it sounds as crisp as the Collings I wanted but has the warmth and dynamics that I have come to expect from Leo's machines.  This is becoming my go-to standard tuning guitar for playing out.  It's gorgeous and looks to be made of some sort of fabulous alien metal.  The Honduran back and sides look much like my little "0".   Like all my guitars, it has a McIntyre feather passive pickup.  All of these require a pre-amp and I favor the simplicity of the L. R. Baggs Para-Acoustic DI.