Beauregard OM Cutaway, Brazilian Rosewood & Redwood - Pre-Owned
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- Open to all
- 25% deposit secures the guitar
- Spread the remaining cost over 3 months
It's safe to say the whole TNAG team have fallen for the other-worldly beauty of this OM Cutaway from luthier Mario Beauregard. Modeled after modern fingerstylist Antoine Dufour's redwood and Brazilian rosewood guitar, this OM is scaled down ever so slightly by 1/4". The top was specially selected by Mario's mentor, Ervin Somogyi, then matched with some Brazilian rosewood that is at once straight-grained and stunningly colored. The fretboard markers are a proprietary design inspired by Japanese metalwork. The sharp curve of the Florentine cutaway is mirrored in the fretboard extension, drawing your eye seamlessly into the closely layered circles of the rosette.
The visuals alone might be enough to sell this guitar, but they are plainly matched by the incredible tone. The OM design, with its focused voice and wide-ranging versatility, is supremely elevated by these tonewoods. Redwood's warm, dark bass is accented by the bell-like clarity and sustain Brazilian rosewood provides, giving the player a unique and compelling voice to work with. This special guitar comes to us from a trusted customer, who has cared for it well over the years, bringing it to us in exquisite condition.
- Model/body: OM Cutaway
- Top: Redwood
- Back and sides: Brazilian rosewood
- Neck: Mahogany
- Fretboard: Ebony
- Saddle: Bone, drop-in
- Binding: Ebony
- Rosette: Abalone w/ wood rings
- Purfling: Curly koa
- Headstock veneer: Ebony
- Brace pattern: Tapered X
- Scale length: 25"
- Nut width: 1-25/32"
- Lower bout: 15"
- Depth: 4-3/8"
- Serial number: 245
- Case: Hardshell
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Every guitar comes with a 72-hour appraisal period so if you're not satisfied you can return the instrument to us
This product listing was written by Lindsay. If you’d like to talk to Lindsay about this guitar, you can do so here:
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Mario Beauregard's luthier journey started in the 1990s, when a grant from The Art Council of Quebec enabled him to attend the Roberto-Venn School of Lutherie where he met Ervin Somogyi in one of his master classes. He was then invited to study with Ervin, which represented a turning point in his career.