Matthias Dammann, 1992
Cedar / CSA Rosewood
Overview
There are not many names in classical guitar making that echo through concert halls and collectors’ circles quite like Matthias Dammann.
Watch our complete review and performance
Widely regarded as one of the most influential makers of the modern era, Dammann’s instruments are played by some of the world’s leading artists including David Russell, Manuel Barrueco, Meng Su, Pablo Sáinz Villegas, Scott Tennant, and Marko Topchii, among others. His work permanently changed the trajectory of modern guitar building, particularly through the development and refinement of the double-top concept.
What makes this guitar especially fascinating, however, is that it is not a double top.
Built in 1992, during a period where Dammann was already experimenting heavily with double-top construction and questioning where he wanted his sound to go, this instrument instead represents something rarer: an extraordinary traditional single-top Dammann. In our experience, these guitars deserve every bit as much recognition as their double-top counterparts.
The moment this guitar is played, it becomes obvious why Dammann has achieved near-mythical status among players and collectors. You immediately hear many of the qualities that define his best work: depth, projection, clarity, immense dynamic range, and a remarkable sense of authority in the sound. Yet unlike many modern concert guitars, this comes wrapped in a package that still feels unmistakably traditional.
This example is especially captivating. It combines a beautiful cedar top with one of the most breathtaking sets of Brazilian rosewood we have encountered. The voice is powerful and deeply expressive, with notes that seem to launch off the strings with almost shocking immediacy while retaining warmth and color.
At 664mm scale, this guitar follows a design direction Dammann has long appreciated and one that reflects his admiration for certain historic Miguel Rodríguez instruments. The longer scale contributes to tremendous clarity and headroom while maintaining a surprisingly comfortable feel.
Dammann guitars are rarely available. Single-top examples like this are rarer still.
Specs
Maker: Matthias Dammann
Year: 1992
Top: Cedar
Bracing: Traditional six-fan bracing (three braces per side, no center brace)
Back & Sides: Brazilian Rosewood (CITES certificate included)
Bridge: Brazilian Rosewood
Scale Length: 664mm
Nut Width: 54mm
Tuners: Original Rodgers tuners
Neck Profile: Thin C-shape
Finish: French polish
Strings: D’Addario XTC45FF with nylon first string
https://ddar.io/guitar-collection
Sound
This guitar surprised us.
If someone played this behind a curtain and said it was a double top, volume alone might convince many listeners.
Projection is extraordinary. Not simply loud, but powerful in the sense that the sound leaves the instrument effortlessly and maintains authority at distance. Few guitars, double tops included, compete with the projection this guitar possesses.
What impressed us even more, however, was the balance between traditional warmth and modern clarity.
The basses are deep, rich, and unmistakably Dammann. There is a density and authority to them that feels immediately familiar from recordings of artists associated with his guitars. Yet unlike some traditional guitars that lean heavily toward complexity and bloom, this guitar remains unusually focused on the fundamental of the note.
The result is a sound that is incredibly pure and articulate.
The trebles are crystalline and singing, with notes that seem to leap off the strings. The second and third strings in particular sustain beautifully without becoming cloudy or overtone-heavy. There is very little sense of compression or tubbiness anywhere on the instrument.
Perhaps most impressive is the dynamic range.
Like the very best Dammann double tops, this guitar allows enormous contrast between delicate playing and full concert-level projection. It can sound intimate and refined one moment and absolutely explosive the next.
For players who love traditional guitars but occasionally find themselves tempted by the power and immediacy of double tops, this may represent one of the most compelling middle grounds imaginable.
Playability
Despite the long 664mm scale, this guitar remains remarkably comfortable.
The neck profile is relatively thin with a comfortable C-shape, helping offset the longer string length. Combined with the low action and smooth fingerboard, the instrument feels surprisingly easy to navigate.
There is a sense of effortlessness here that makes it easy to forget the dimensions and simply enjoy making music.
Aesthetics & Craftsmanship
Visually, this guitar is unmistakably Dammann.
The rosette design remains iconic and immediately recognizable decades later. Small details reveal the care and individuality of this period of Dammann’s work, including decorative inlay work on the tie block that echoes the rosette motif.
The Brazilian rosewood deserves special mention.
This is one of the most striking sets we have encountered, with dramatic figure and contrast that captures attention immediately. The sides show beautiful lighter coloring that complements the back exceptionally well.
It is a guitar that feels every bit as special visually as it does sonically.
Condition
This guitar is in great overall condition with obvious signs of serious and enthusiastic play.
The cedar top shows honest wear throughout, including nail marks beneath the strings and various small marks accumulated over decades of use.
There is an area on the top that resembles a crack but is finish checking only and not structural.
There is also one professionally repaired crack in the Brazilian rosewood back, which has been stable for a long time and is difficult to notice unless viewed carefully in the light.
For a guitar that has clearly spent decades being played and enjoyed, we find the condition to be excellent overall.
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If you're interested in purchasing, please write to us at evan@guitarcollection.com
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