This stunning creature is made of Master Reserve (magnificently burled and curly) Brazilian and tightly cross-grained Sitka. Its back and sides, headplate and backplate are comprised of some of the most beautiful dark, swirly Brazilian rosewood as you are apt to see running amok in the rainforest and this most desired of woods is contrasted by a neo-classical ebony fingerboard that is bound in rosewood with a white-line border. The instrument is 15 3/8” in body width, with a long scale of 25.5”, a nut width of 1 ¾”, depth at bottom side of 4 5/8”, and an E-string to E-string spread of 2 ¼” at the bridge. It also sports a burled wood soundhole rosette, Brazilian rosewood top and back bindings, and an ebony bridge with compensated bone saddle - contoured for intonation excellence.
We are extremely happy to report that the butt wedge is mitered (at least mine is), and the backstripe is the unique Bryan Galloup design of being trifurcated and mitered in a design much like the Chesapeake Bay Bridge/Tunnel. The bottom edge of the fingerboard terminates in a French curve. Its tuners are actual nickel- plated Waverlys with onyx-like ebony buttons. The wood-bound headstock is asymmetrical at its top edge (two bumps, no waiting) and mega-tapered like a snakehead, with the bold Galloup stylized "G" inlaid in pearl at the top. The Brazilian rosewood headplate is bordered in a ring of maple and so is the underlain back plate that culminates in a gentle volute. The neck is one piece of genuine ma-ha-gonny. The top is bordered in 5-plies of wood purfling, the rosette around the soundhole is a study, a still life, in what could be figured Brazilian.
The bridge is carved of ebony with a saddle that, because it is dedicated to the Buzz Feiton tuning system, is shaped and configured in an original fashion. The nut and saddle are bone; the sides and back are circumscribed in maple and rosewood. As is typical of the guitars of this august Big Rapids, Michigan builder, the sound is superlative, the playability perfect. Although one does not accompany this used guitar, when a person buys a new Galloup they receive a “Galloup Guitars Reserve Stock Certificate of Authenticity” which reads: “This certificate verifies that this instrument is built from my Reserve Stock tone wood supply. [These] woods meet only the highest standards for beauty, clarity, rarity and tonal superiority.” In view of this shining example, he can sure can say that again.