"small" VS. "travel"
After all the horror stories I've heard of the bloodsport that baggage handlers routinely have with guitar cases, I'd say that a travel guitar is one you're not going to cry and gnash your teeth over when it gets smashed on the way to your sister's wedding. Or, if you're a touring pro, you have the wherewithall to travel with your guitars and have them handled like nuclear warheads. And heads will roll if they're damaged.
I have really been noticing this great surge of interest lately in smaller, shorter scale guitars amongst discerning guitar players. I'm building them now, so I've paid a lot of attention to what people are asking and saying about them. Larry Pattis has given me a lot of very well considered and experienced input, to the point where I'm going back into my designs and addressing his erudite observations about the best form and function for "small guitars".
Larry and I are both of the opinion that there need to be more top-level choices available in smaller instruments. We're talking professional quality concert guitars. I think that this category of guitar should be given a chance to earn just as much respect (both by luthiers and musicians) as any other size of guitar. Just as with violin family instruments.
I totally love the idea of the Terz, the 3/4 size, and any of a number of designs that are built on a smaller platform, and have a use, sound, and brilliance unique to their larger-than-life stature. I mean, imagine having a wide choice of small guitars that are in every way, as fully realized as your high-end OOO or Dreadnaught or Jumbo.
One thing I've noticed with my own small guitars, they have the most winning personalities. Everyone who plays them, loves them. There's a whole new universe to explore in the small guitar. Jus' say'n. -edwinson
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