In the late '60s some of the model numbers changed: the G became GG but the specs otherwise remained the same. I am refering to the Swedish made Espanas only as later ones were different and made in Finland. There are Levin and Espana versions of all of these guitars with the exception of the G-50.

G-40s often go for less because people don't know what they are (I paid $150 for mine on eBay). $1,000 seems to be the going rate for these lately. It is the most famous model as it was used and endorsed by Theodore Bikel, Melanie, Eddie Albert (yes, he was a folk singer, too), Eddie Arnold, Hugh Downs and others.

The G-30 had individual gold plated tuners with bone rollers. If anyone has a G-50 both Hans Moust and I would like to know about it. The '66 catalog lists all three the '67 catalog lists the G-50C only. It is also possible that they were cataloged but none were produced as there are no pictures in either the 66 or 67 catalogs, the only two to list the G-50. The G-50C was rosewood, the G-50F was cypress and the G-50L was flamed maple. Specs unknown but the Mark VII has a 26 1/4 scale, BRW B/S and a spruce top. The G-50C was priced the same as the Guild Mk VII and may be the same guitar. Probably made by Guild (also owned by Avnet) but no one seems to know for sure. G-50 Hand made in USA after Avnet bought Goya. The quality level is about that of the G-30. It seems they could never decide on the size as it came three ways: Concert, Grand Concert or Spanish depending on the year. G-45 The last version of the G-40 'redesigned in the Spanish style' - essentially, the re-introduction of the first G-40.į-7 Goya's standard flamenco guitar, very thin solid flamed maple with rosewood binding (some had top binding only). G-40 Brazilian rosewood B/S, ebony board and bridge, early ones were Spanish styled, later ones are Grand Concert sized. G-30 fancy flamed maple, not stained, ebony board, rosewood bindings and bridge, gold plated individual tuners w/ bone rollers, Grand Concert size G-25 solid flame maple, stained 'warm reddish-yellow' rosewood bindings & fretboard, nickelplated tuners w/ bone rollers, discontinued early 1957 Grand Concert size G-20 solid flame maple, stained 'grey-brown' white bindings r'wood board Grand Concert size G-17 'pure' (solid) mahogany Grand Concert (000 size sort of - anyway, larger than the Concert) rosewood board G-15 'pure' (solid) mahogany, Concert size discontinued in 1959 superceded by the G-17 and G-13. Some years there was a matte finished G-13M. G-13 3-ply mahogany Concert size, 3/8' tuner posts, aka the Sound of Music model - it's the model Julie Andrews and Christopher Plummer played (or faked playing). G-10 3-ply flamed birch stained brown Concert (00) size, 1/4' tuner posts The common Herschmann/Avnet Goya Classical guitars: 'Pure mahogany' in a Goya catalog meant solid mahogany instead of laminated. The 3-ply backs were bookmatched fancy veneers over a solid core - when in doubt, pull the end pin and you will see the solid core and veneers. Here goes:Īll Levin (made in Sweden) made Goyas had solid alpine spruce tops ('alpspruce' in the catalog) ivory nuts and saddles. The only differences between yours and my G-30 is that mine has fancier looking maple, individual tuners and an ebony fretboard. The G-20 was the middle of the line and made of all solid woods, stained flame maple in your case with an alpine spruce top. If the other Goyas are like this one (this is pretty low end in their line I think), this maker is definitely something to consider. Its not as mellow as my Hill Almeria, but its still plenty mellow when compared to a steel string) and its definitely more interesting than any mahogany b/s nylon stringed guitar that I've played.Īnyway, I just wanted to pass along this info to people looking for a vintage nylon stringed guitar. It has solid maple back and sides, so that must have something to do with it. Its got a snap to it that many traditional classical guitars lack.

But what makes this guitar special is that it sounds great with a pick and for 'folk' type music. Not a classical in the 'classic' sense, it sounds great for the type of stuff for which I use nylon stringed guitars- bossa nova, lounge etc. I was intrigued by what Mike Halloran wrote about Goya classicals. I've been messing around with nylon stringed instruments for a little while now and I ran across this guitar. I'm so taken by the guitar, I want everybody to know about it!

Goya classical guitar model g-10