Auden Mahogany Series – Emily Rose Cedar Full Body

5.00 out of 5
(1 customer review)


Small and mighty! This sweet little 12 fret join parlour certainly packs a punch. The slightly deeper body allows the guitar to resonate with a volume and presence not usually heard in guitars of this size.

  • Top: AAA Cedar
  • Back: AAA Mahogany
  • Sides: AAA Mahogany
  • Neck: African Mahogany
  • Joint: Dovetail / Hide Glue
  • Onboard Pre-Amp: Brad Clark Supernatural DS

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Top: AAA Cedar
Back: AAA Mahogany
Sides: AAA Mahogany
Neck: African Mahogany
Joint: Dovetail / Hide Glue
Fingerboard: Ebony
Headboard: Ebony
Detailing: Maple / Mahogany
Rosette: Rosewood
Binding: Maple / Rosewood
Nut: Bone Bridge: Ebony
Saddle: Bone / Composite
Pins: Ebony
Machine heads: Schertler 18:1 open
Finish: Full Gloss
Preamp: Brad Clark Supernatural DS
Case: Vintage Grey Buck

Shoulder width: 245mm
Belly width: 350mm
Waist: 205mm
Depth at neck: 90mm
Depth at Base: 110mm
Full length: 1000mm
Scale Length: 628mm (12th Fret)
Neck width at Nut: 45mm
Neck width at 14th: 54mm
Neck width at 20th: 57m

Additional information

Left Right Hand

Left, Right


1 review for Auden Mahogany Series – Emily Rose Cedar Full Body

  1. 5 out of 5

    Mark Robinson

    I went to Richards Guitars to try out a ‘different brand’ parlour guitar (00 size actually), but having heard what I was looking for, the guys there recommended the Emily Rose, and put one on a stand for me next to the one I’d enquired about. I knew within 5 seconds that the other guitar wasn’t for me, but as soon as I began playing the Emily Rose, it became clear that this instrument is a breed apart from most parlour guitars.

    I’d never heard such fullness of tone in a small bodied guitar – every note sounded thick and clear, no reediness, no empty bass register – this thing had the lot. I spent a while mulling over it but I already knew I’d not be putting it back on the stand. I have arthritis in both thumbs,and whilst awaiting possible joint replacements, I’d been advised by a physio to try a shorter scale instrument that required less strength (thumb pressure) to play, which is the only reason I’d looked at parlour guitars. The Emily Rose gives me that, and so much more. It’s got huge projection for such a petite thing, and it feels good to hold as well as sounding just divine. The sustain has to be heard to be believed.

    I’ve been playing for 49 years, and for nearly 30 years either professionally or semi-professionally, and have owned a lot of ‘big brand’ guitars during this time, a few of which are outstanding instruments, but I’ve paid big bucks to get that tone. Many of these guitars look good, play beautifully, but something is missing, and that something is why we play guitar…TONE. The Emily Rose is a tone monster, sweet trebles, rich overtones and more bass than you can shake a pick at – it actually made me say “WOW” out loud after maybe one minute of playing. I play this thing every day, and I LOVE it. It may sound stupid but I’ve lost count of the number of times I’ve stopped playing and told it how good it is (looks for men in white coats). It’s already helped me write a couple of new songs. I did watch a few reviews of it prior to going over to Richards Guitars, and I love Doug’s company approach – building truly top class instruments in an ethical, affordable manner, so I was thinking that maybe I ought to try it out when I went to see the ‘other brand’ guitar. I am SO glad that I did. The other day I did a ‘tone comparison’ (and yes I know this is subjective) with my top 3 instruments and at the end of the process, I had the Emily Rose sitting in the top 3, displacing a real favourite of mine, with only guitars costing between more than double and 10 times the price of the Emily Rose ahead of it. Neither of those guitars are as comfortable to play as the Auden because they are significantly larger. The Emily Rose has significantly more bass presence than a ‘big brand’ Grand Auditorium model made using the same Cedar/Mahogany combination. I suspect that both the woods are of a higher grade, and the voicing (deepening the body just slightly) may be major factors in this.

    When I was looking for a parlour, I hadn’t considered the need for a pickup as parlour guitars wouldn’t deliver the tone I wanted for my gigs, so when I learned that the Emily Rose had a pick up, I kind of thought “so what?”. Well let me just say that as soon as I heard the acoustic tone of this guitar, I immediately though of travelling with it. My last overseas gigs (in The Netherlands) were almost written off as the airline managed to lose my J-45 for several hours, and just maybe the Emily Rose would go inside the plane (don’t quote me on that). It’s certainly a lot easier to carry!

    Anyway, take my word for it, the Supernatural pickup system is a game-changer. If you play live, isn’t it just really annoying when the venue sound man cranks down your guitar volume as soon as you start strumming, after you’ve played a fingerstyle number, and then forgets to turn you back up again when the next song is a Travis picked song? The Supernatural puts you in control – you can choose a mode for strumming, flatpicking, fingerstyle, and you can adjust not only the EQ but whether the pickup uses just its cleverly placed piezo crystals, or also the body resonance. It’s a remarkable piece of kit, and I am actually looking forward to doing shows with my Emily Rose – it’s no longer just the ‘home therapy’ guitar I needed. I can’t wait to see the look on the audience’s faces when they hear this brilliant little guitar.

    In conclusion – and for the record I have no connection in any way with Auden guitars – well done to Doug and his team (including Brad Clark for his Supernatural pickup), and the great luthiers in the China workshop who produce this fantastic instrument. Also a BIG shout to the terrific guys at Richards Guitars, who really know their stuff, and to Richard himself for walking the path less trodden, and introducing us to truly amazing guitars we might never have heard of.

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