Larrivée Guitar Models

2012 45th Anniversary Model

2012 will mark Jean Larrivée's 45th year of building guitars. In doing so, the Larrivée Family is proud to announce the limited release of our 45th Anniversary Guitar. The LV-10 has been chosen to represent this limited edition with spectacularly figured Indian Silverwood bound with Indian Rosewood and abalone purfling. This Silverwood was discovered and hand selected by Jean last fall while searching for new exotic wood sources in India. The B.C. Sitka spruce soundboards are from Jean's private reserve, only to be used on such deserving limited runs. A lightweight genuine South American mahogany neck will feature a striking early 1900's style "Torch" headstock inlay designed by Wendy Larrivée for this notable occasion. A matching fretboard and bridge inlay will compliment the "Torch" and set in only the finest African ebony available. Finally, to tie it all together, will be a very special 12th fret inlay proudly displaying the dates "1967-2012".

Each of the 45 limited guitars will come with it's own certificate of authenticity hand signed by Jean Larrivée. Order yours now while they are available as numbers are strictly limited to 45. MSRP on this piece will be $4500.00 with delivery beginning in March. A photo documentary will be posted to our website and Facebook page along with updates on Twitter.

Thank you for 45 years of support,

The Larrivée Family

Source: John M Larrivée January 19, 2012

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Body Styles

Overview

More details below

B - Bass

• Lower Bout: 17"
• Upper Bout: 12.5"
• Waist: 10.75"
• Depth: 4.75"
• Scale Length: 34"
• Nut Width: 1 & 3/4" (44.3mm or 1.75")
• Length 20 5/8"

C - Larrivée Body with a Florentine Cutaway

• Lower Bout · 16”
• Upper Bout · 11.625”
• Waist · 10.25”
• Depth · 4.75”
• Overall Length · 40.75”
• Scale Length · 25.5”
• Nut Width: 1 & 3/4" (44.3mm or 1.75")

CS - Larrivée Small Body with a Florentine Cutaway

• Lower Bout · 15”
• Upper Bout · 11.875“
• Waist · 9.75”
• Depth · 4.25”
• Overall Length · 40.5”
• Scale Length · 25.5”
• Nut Width: 1 & 3/4" (44.3mm or 1.75")

D - Dreadnought

• Lower Bout · 16”
• Upper Bout · 11.875”
• Waist · 10.875”
• Depth · 5”
• Overall Length · 41”
• Scale Length · 25.5”
• Nut Width: 1 & 11/16"

J - Jumbo

• Lower Bout · 17"
• Upper Bout · 12.5"
• Waist · 10.75"
• Depth · 4.75" - 4.875"
• Scale Length · 25.5"
• Nut Width · 1 & 3/4" (44.3mm or 1.75")
• Scale Length · 25.5”
• Length · 20 5/8"

Larrivee Lancaster

Larrivée Lancaster

L - Larrivée Body

• Lower Bout · 16”
• Upper Bout · 11.625”
• Waist · 10.25”
• Depth · 4.75”
• Overall Length · 40.75”
• Scale Length · 25.5”
• Nut Width: 1 & 3/4" (44.3mm or 1.75")

LJ-body or CJ-body

• Lower Bout: 17"
• Upper Bout: 12.5"
• Waist: 10.75"
• Depth: 4.75"
• Scale Length: 25.5"
• Nut Width: 1 & 3/4" (44.3mm or 1.75")
• Length 20 5/8"

LS - Larrivée Small Body

• Lower Bout · 15”
• Upper Bout · 11.875“ (11.25" measured on one)
• Waist · 9.75” (9.5" measured on one)
• Depth · 4.25” (3.75" at heel)
• Body Length - 19.75"
• Overall Length · 40.5”
• Scale Length · 25.5”
• Nut Width: 1 & 3/4" (44.3mm or 1.75")

LSV - Larrivée Small Body with a Venetian Cutaway

• Lower Bout · 15.125”
• Upper Bout · 11.375“
• Waist · 9.75”
• Depth · 4.125”
• Overall Length · ___ ”
• Scale Length · 24.75”
• Nut Width: 1 & 3/4" (44.3mm or 1.75")
• Fretboard Radious: 16-21" Compound
• Setup for Medium Gauge Strings
• Frets: Nickel Silver
• Frets Width: 2.5 mm (0.0985")
• Frets Height 1.0mm (0.0394")
• Gloss UV Finish Body & Neck

• Source: LSV11]

OM - Orchestra Model

• Lower Bout · 15.375”
• Upper Bout · 11.75”
• Waist · 9.625”
• Depth · 4.25”
• Overall Length · 40.5”
• Scale Length · 25.5”
• Nut Width: 1 & 3/4" (44.3mm or 1.75")
• Setup for Light Gauge Strings
• Frets: Nickel / Silver
• Fretboard Radius: 17" to 21" Compound
• Frets Width: 2.5 mm (0.0985")
• Frets Height: 1.0 mm (0.0394")

— source

OO Body

• Lower Bout: 14"
• Upper Bout: 10"
• Waist: 8.25"
• Depth: 4"
• Scale Length: 25.5",
• 12 fret to body
• Nut Width: 1 & 3/4" (44.3mm or 1.75")
• Body Length 19-1/8"

OOOO Body

• Lower Bout · 15.375”
• Upper Bout · 11.125”
• Waist · 9.375”
• Depth · 4.5”
• Overall Length · ???
• Scale Length · 25.5”
• Nut Width: 1 & 13/16"
• Fretboard Radius: 16" to 21" Compound
• Setup for medium gauge strings
• Frets Width: 2.5 mm (0.0985")
• Frets Height: 1.0 mm (0.0394")

Also: 12th-fret neck join — source

P - Parlor

• Lower Bout · 13.25”
• Upper Bout · 9.5“
• Waist · 7.75”
• Depth · 4.5”
• Overall Length · 36.75”
• Scale Length · 24”

SD - Slope Dreadnaught

• Lower Bout · 15”
• Upper Bout · 11.25“
• Waist · 10.5”
• Depth · 4.875”
• Overall Length · 40.5”
• Scale Length · 25.5”

Classical

• Lower Bout · 15”
• Upper Bout · 11.875“
• Waist · 9.75”
• Depth · 4.25”
• Overall Length · 40.5”
• Scale Length · 660 mm (approximately 26”)
• Nut Width: 2"

LS-30 Classical

Example: Larrivée Classical Model 38

Current Model Comparisons

Source: Larrivée web site December 2009

Introduction from the Larrivée Site

This page contains the information which allows you to quickly compare multiple

models. Remember that every guitar we manufacture is hand-built, which means that they specs are the guidelines we use, but that the final specification may vary slightly.

Series Details

Feature Comparison

FEATURE	-03	-05	-09	-10	-19	-50	-60	SD-50	SD-60	-30
All Solid Wood Construction	•	•	•	•	•	•	•	•	•	•
Symetrical X Bracing	•	•	•	•	•	•	•	•	•
Hand Fit Dove Dail Neck Join	•	•	•	•	•	•	•	•	•	•
Ebony Fingerboard	•	•	•	•	•	•	•	•	•	•
Ebony Bridge	•	•	•	•	•	•	•	•	•
Single Piece Mahogany Neck	•	•	•	•	•	•	•	•	•	•
Ivroid Fretboard Binding	•	•	•	•	•	•	•	•	•
Solid Wood Body Binding	•	•	•	•	•	•	•	•	•	•
Limited Lifetime Warranty	•	•	•	•	•	•	•	•	•	•
Abalone Rosette		•	•	•	•	•	•	•	•
Satin Finish Neck	•	•	•	•	•	•	•	•	•
Satin Finish Body	•
Transparent Pickguard	•									•
Exclusive Beveled Pickguard		•	•	•	•	•	•	•	•
FEATURE	-03	-05	-09	-10	-19	-50	-60	SD-50	SD-60	-30
Gloss Finish Body		•	•	•	•	•	•	•	•	•
Mother of Pearl Logo		•	•	•		•	•	•	•
Microdot fretboard Markers		•	•
Abalone Soundboard Purfling				•
Deluxe Fretboard Inlays				•
Deluxe Bridge Wing Inlays				•	•
Vine Fretboard Inlays					•
Vine Headstock Inlays w/ Logo					•
Open Back Stainless Steel Tuners						•	•
Flat Top Headstock w/ Volute						•	•
Pearl Diamond Fretboard Inlays						•	•	•	•
Herringbone Soundboard Purfling						•	•	•	•
Stainless Steel Side Mounted Tuners								•	•
Slotted Headstock w/ Volute								•	•
Symetrical Fan Bracing										•
Rosewood Bridge										•
Ebony Fretboard Binding										•
Handmade Classical Tuners										•
Classical Slotted Headstock										•
Mosaic Rosette										•

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Nut Width Comparison

Model	1 & 11/16"	1 & 3/4"	1 & 7/8"	2"
Dreadnoughts	•
Larrivee Bodies (All Series 6-String)		•
Orchestra Models (All Series 6-String)		•
Parlors		•
Slope Dreadnaughts			•
All Twelve Strings			•
Classical Guitars				•

Older Model Comparisons

Source: Webarchive

	Parlor	-02 Series	-03 Series	-04 Series	-05 Series	-09 Series	-10 Series
All solid wood construction	•	•	•	•	•	•	•
Symmetrical bracing	•	•	•	•	•	•	•
Hand-fit dovetail neck joint	•	•	•	•	•	•	•
Ebony fretboard & bridge	•	•	•	•	•	•	•
Single piece mahogany neck	•	•	•	•	•	•	•
Transparent pick guard	•	•	•	•	•	•	•
Composite nut & saddle	•	•	•	•	•	•	•
Fretboard binding	•	•	•	•	•	•	•
Limited lifetime warranty	•	•	•	•	•	•	•
Satin finish	•	•	•
Gloss finish				•	•	•	•
Wood body binding					•	•	•
Inlaid silver headstock border					•	•	•
Pearl Larrivee headstock logo					•	•	•
Abalone rosette					•	•	•
Deluxe fretboard inlay							•
Abalone purfling around top							•
Pearl position markers							•

Finishes

The first guitars were sprayed with hot laquer, and around '84 we changed to a modified Polyurethane varnish - Great stuff. We used that up until around 1995 (I think) when we started messing with Crown Metro's UV polyester. There were problems with crown metro and eventually we ended up using the MCfadden UV polyester. Mcfadden recently went bankrupt and we have switched to a new UV finish - which is relatively problem free and made locally in California.

The modified polyurethane was catalyzed. Up until 2 months ago the UV was not catalyzed. Now the UV is dual cured with partial catalyzation with cobalt & peroxide, and UV light.

Source: Matthew Larrivée October 2010

Update as of 2016-01-30

Current Finish

Gloss Guitars: Pure Acrylic Urethane hi-sheen Topcoat (Catalyzed), over top of a Catalyzed Urethane Basecoat.

Satin: Pure Acrylic Urethane 10% Sheen Satin Finish (Catalyzed), Over top of a Catalyzed Urethane base coat

WE USE NO POLYESTER ON ANY ACOUSTIC INSTRUMENTS

2009-2013

Gloss Guitars: Urethane hi-sheen Topcoat (Catalysed), over top of a UV Polyester Basecoat

Satin: Pure Acrylic Urethane 10% Sheen Satin Finish (Catalyzed), over top of a UV Polyester Basecoat

Approx 1990-2009

Gloss Guitars: UV Polyester Topcoat, over top of a UV Polyester Basecoat

Satin: Pure Acrylic 12.5% Sheen Satin Finish (Catalyzed), over top of a UV Polyester Basecoat

Approx 1983-1990

Gloss Guitars: Catalyzed Modified Varnish Topcoat/Basecoat (Polyurethane Based)

Satin: No satin guitars made during this time

1967 to Approx 1983

Gloss Guitars: Hot Sprayed Nitrocellulose Lacquer

Satin: No satin guitars made during this time

Source: Larrivée Forum 2016-01-30

Truss Rods

1967 > 1985 = Static non-adjustable truss rod.

1985 > 2008 = Single action truss rod.

2008 > present = Dual action truss rod.

Of course there were crossover periods while supplies were used up. For instance, we had an overstock of Parlor single action truss rods when we switched to dual action. So the Parlors were still single action for some time after 2008. Same with 00's and other 12 fretters. The glossy guitars got the dual action first while the satins used up the remaining single action. By 2010 everything was dual action. Source: JM Larrivée

Construction - Internal Back Strip

Jean’s first guitars had the internal back strip [as mentioned]. I believe he used it somewhere through to about 1983-84. If I remember correctly it stopped when we moved to North Vancouver. At the time the strip did serve to reinforce the back because we had a decorative strip of purfling down the center seem. When that purfling strip was removed from the design, the mahogany re-enforcement was no longer necessary.

Fast forward to 2007 when we made the JCL re-issue guitars… We put the re-enforcement strip on these guitars because we added the purfling strip again. We looked at it and realized we liked the look of it inside the instrument and so we decided to put the strip on all of the glossy guitars in the California shop. The Canadian shop also puts the strips on -05 series and up guitars but does not put them on -03’s because of the added cost involved. We do sometimes add the strips to special run -03’s that we make in California.

The strip is mostly decorative – It does help somewhat on extremely oily woods, but really the center seam join we do is so strong that it is un-necessary.

Source - Matthew Larrivée

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