Gregory Byers, 2010
Cedar / Madagascar Rosewood
Overview
This 2010 classical guitar by renowned California luthier Gregory Byers is, without exaggeration, one of the finest examples of his work we have come across. Built with a cedar top and a stunning set of Madagascar rosewood, this guitar combines the immense power and responsiveness often associated with lattice-braced instruments with a tonal character that remains remarkably natural and refined.
The result is a guitar with a huge, deep bass, surprising projection, and a rich, luxurious tonal palette that immediately reveals the hand of a master builder. Despite its modern internal structure, the lattice bracing is almost undetectable in the sound. Notes across the fingerboard speak clearly and evenly without the “squawky” artifacts that some players associate with lattice designs.
This is a guitar that feels alive from the first note. It is responsive, rich, and deeply satisfying to play, embodying the sonic character that Byers has spent decades refining.
Sound
The sound of this guitar can best be described as responsive and rich, with a luxurious depth that reveals itself immediately.
The bass is enormous and authoritative, providing a powerful foundation for the instrument, yet it remains focused and controlled. The trebles are clear and singing, with excellent sustain and projection that easily keep pace with some of the most powerful concert instruments we encounter.
What stands out most is the balance between power and refinement. The lattice bracing provides tremendous responsiveness and dynamic range, yet the tonal character remains warm, natural, and full-bodied. Rather than sounding overtly “modern,” this guitar retains a classical voice with remarkable clarity and richness throughout the entire register.
Playability
Playability is superb. The guitar features a low, comfortable action and a perfectly intonated fingerboard that makes it effortless to navigate.
Modern ergonomic features include a raised fingerboard and a 20th fret, allowing for comfortable access in the upper register without compromising the traditional feel of the instrument. The neck profile is comfortable and natural in the hand, making extended playing sessions effortless.
Aesthetics & Craftsmanship
Visually, this guitar is striking.
The set of Madagascar rosewood used for the back and sides is exceptional, displaying beautiful figure and depth that immediately captures the eye. Whether Madagascar rosewood enhances the sound over Indian rosewood is a debate that players often have, but there is no question that it lends this guitar a sense of rarity and visual elegance.
Byers’ rosette design is stunning in its timelessness. Nothing about this instrument feels trendy or ornamental for the sake of fashion. Instead, every aesthetic choice reflects restraint, taste, and a deep respect for classical tradition.
Additional visual highlights include the beautifully inlaid headstock and premium Sloane tuners, completing a guitar that is every bit as impressive visually as it is sonically.
Specs
Maker: Gregory Byers
Year: 2010
Top: Cedar
Back & Sides: Madagascar Rosewood
Nut Width: 53 mm
Tuners: Sloane
Fingerboard: Raised fingerboard
Frets: 20
Condition
This guitar has clearly been played and enjoyed over the years, and there is visible evidence of play throughout the instrument.
However, it remains in structurally excellent condition, with no cracks and no repairs. It is simply a well-loved instrument that has been used for its intended purpose: making music.
For a serious player, this is exactly the type of guitar that invites continued use and musical exploration for many years to come.
About Gregory Byers
Gregory Byers is one of the most respected American classical guitar makers of the modern era. His path to lutherie was anything but conventional. After studying architecture at UC Berkeley, participating in the Vietnam War resistance movement, traveling through Europe, and working as a potter, he ultimately returned to academia and earned a PhD in Ecology and Evolutionary Biology from the University of Arizona.
His introduction to guitar making came during field work in Puerto Rico, where he encountered an elderly luthier whose workshop sparked the idea that he might one day build a guitar himself. Shortly thereafter, he completed his first instrument and sought guidance from master luthier José Romanillos, whose workshop at the 1981 Guitar 81 festival in Toronto proved transformative.
Romanillos’ influence helped shape Byers’ philosophy of guitar making, which blends craftsmanship, artistic expression, and a deep intellectual curiosity about sound and materials. Over the decades, Byers has developed a reputation for building instruments that combine traditional aesthetics with innovative structural ideas, producing guitars known for their power, responsiveness, and tonal sophistication.
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If you're interested in purchasing, please write to me at evan@guitarcollection.com