Archive

Sold

The back and sides of this "D" size guitar are Bubinga with Brazilian Rosewood trim, bridge and peghead overlay. The tone and volume of this instrument were so astounding that we named it "Young Hoss" after Doc Watson's Gallagar "Hoss." Young Hoss has an armrest bevel and a sound port.

Sold

Built to celebrate 50 years of building guitars, this 000 beauty has back and sides of Spanish Olive wood with Brazilian Rosewood bridge and binding. The face, bracing and blocks are Red Spruce. The neck is Spanish Cedar and the peghead overlay is Brazilian Imbuia. The fingerboard is Ebony. The bridge pins, nut and saddle are Ivory. The inlays are made of Mother of Pearl, Green Snail and Paua, Red and Green Abalones, reconstituted stone and Silver. The bevel on the lower bout provides comfort and the sound port acts as a built in monitor. The pick guard is Clear Acetate and the tuners are Waverly. This beauty has remarkable tone and volume for a small bodied guitar; a truly lovely instrument in every way.

Sold

This wonderful "D" size guitar has a back and sides of Cuban Mahogany with Brazilian Rosewood binding. The face is made from "Lucky Twelve" Sitka Spruce. This guitar has exceptional balance, tone, volume and bass response. An armrest bevel adds comfort.

Sold

This "D" size guitar is made of Cuban Mahogany with a Red Spruce face. The inlay on the head stock pictures a silhouette of a bear walking in the mountains in the evening. The inlay is made of different types of woods, the moon is made of Mother of Pearl and the stars are made of Silver wire. At the 12th fret is an engraved Mother of Pearl plaque celebrating the 18th annual Kaufman Kamp. This guitar will be given away as a door prize at the Steve Kaufman Acoustic Kamp in Maryville, Tennessee in June 2013, second week. http://www.flatpik.com/Steve-Kaufman-Acoustic-Kamp

Sold

This "D" size guitar is made from "The Tree" quilted Mahogany with a "Lucky Twelve" Sitka face. Both of these tonewoods are extremely rare. The binding is Brazilian Rosewood, as is the bridge and peghead overlay. This is a remarkable instrument, not only in appearance but also in tone and volume. The peghead inlay is of Paua and Green Abalone, Green Snail and Gold Mother of Pearl.

Sold

This 00 size Parlor Guitar was created for old time musician and craftsman, Ken Horne. The guitar is made of Indian Rosewood back and sides and a Red Spruce top. Elegantly simple to recreate a period 1800's look for Ken who does a variety of re-enactments. It is a small guitar with a big voice.

Sold

This banjo is Ken's interpretation of a circa 1900 Presentation Banjo. The neck is made from Walnut. The neck and bowl are trimmed with Bloodwood. The fingerboard is Ebony and The peghead overlay is Brazilian Rosewood. The nut is Ivory. The inlays are made from engraved Gold Mother of Pearl.

Sold

FLORIDA This guitar is made almost entirely of Florida woods. The back, sides and peg head overlay are made of Walnut, the neck is Cuban Mahogany and uses a dove tail joint and an adjustable truss rod. The face is Adirondack (Red) Spruce and the internal unkerfed linings are Deadhead Cypress, the binding is Eucalyptus. The fingerboard is Ebony and the bridge is Florida Rosewood. The inlays are of Mother-of-Pearl and Green Abalone. The nut and saddle are Ivory, the bridge and strap pins are of Horn with Abalone dots. The guitar is finished with oil varnish and has a clear acetate pick guard. This guitar is equipped with Schaller tuners. This unique instrument belongs to old time musician and performer Lloyd Baldwin. In the picture Lloyd and Roger Eudy have swapped instruments.

Sold

A soprano harp ukulele, made with Koa back, sides and face. This ukulele has Ebony fingerboard and Brazilian Rosewood trim and peghead overlays. The necks are made of Spanish Cedar. The nuts and saddles are Ivory. It has all geared tuners. Inlays of Abalone and Green Snail. We have this beautiful instrument on consignment from the original owner.

Sold

This 000 size guitar has Boise D'Rose back and sides and a Red Spruce face. The binding is flamed Koa and the rosette is made from Green Snail. It has an arm bevel and a soft cutaway for comfort and ease of playing. The sound port acts as a personal monitor.

Sold

This jumbo sized guitar has a back and sides of highly flamed Mahogany with Brazilian Rosewood binding and a Red Spruce face. The arm bevel provides comfort and ease of playing. The inlays are made of Mother of Pearl with two large snowflakes on the peghead and small snowflakes drifting down the fingerboard.

Sold

This jumbo sized guitar has back and sides of Ziricote with a Red Spruce top. The pick guard is Ziricote which matches the back and sides. The peghead inlay is made of Gold Mother of Pearl. The 12th fret inlay is made of engraved Ivory.

Sold

A beautiful instrument made with Quilted Mahogany back and sides and a face of Red Spruce. The Greeb inlay at the 12th fret is made of Black and Gold Mother of Pearl and has a Ruby for an eye. After 5 months, this is what the owner said about it, "I've had your (now mine!) guitar for about five months and I couldn't be happier with it. The intonation is perfect and the the punch and tone unbelievable. I just put some new strings on and wow! What a cannon! I want to thank you for the care you put into the instrument. Everyone who sees it marvels at its beauty and tone."

Sold

This beautiful blonde instrument is made of solid American Holly, the only naturally white wood. Holly is used for the face, back, sides, neck, fingerboard and bridge. The trim work around the body, fingerboard and sound hole is Curly Maple. The interior bracing and blocks are of Adirondack (Red) Spruce, the linings are of Cypress. The inlays are of Green Snail, White and Gold Mother of Pearl and Red Abalone. The nut is made of Mother of Pearl and the saddle is of Ivory. The ukulele is finished with Oil Varnish which gives the Holly a rich Ivory color. This ukulele is finished with Deluxe Gold Gotoh tuners.

Sold

This Sloped "D" guitar was created for a customer who has a love of sailing. The back and sides are made of Indian Rosewood and the face is Red Spruce.

Sold

This "Nick Lucas" size body is extra deep (5 inches) but the arm bevel makes it very comfortable to play. It has a back and sides of Cuban Mahogany and a face of Red Spruce. The inlays are in memory of the customer's home, Puerto Rico, with beaches, mountains and palm trees made of abaone, mother of pearl and Koa.

Sold

This 000 has back and sides Bois D'Rose with a Red Spruce face and a Green Snail rosette. They armrest bevel provides comfort and makes the instrument feel smaller while maintaining a big sound. The inlay on the headstock is of a pair of doves made of quilted maple. The Dove belongs to old time guitar and mandolin player extraordinaire, Roger Eudy.

Sold

A Slope Shouldered "D" made of Curly Mahogany back and sides and Red Spruce face. The arm bevel makes this jumbo sized instrument comfortable to play and the sound port provides a monitor.

Sold

A stunning instrument in every way. Chris Newman said of it, " "I really don't like big guitars, but that Ken Miller D I played that day was astounding - probably the best sounding dreadnaught I ever played." It has Bubinga back and sides with a Red Spruce face. This incredible instrument was created for Bud Onstad who said, "I don't think I ever pick up the guitar without thinking, 'isn't this a beautiful guitar"'. Bud fondly calls the guitar "Baby."

Sold

This 000 size guitar was created for Bob Cox of the performing duo of Bob and Mary Cox. It has Brazilian Rosewood back and sides and a Red Spruce face. The headstock inlay is an Anhinga that is made from Black Pearl. The Anhinga's reflection is made from Abalone heart. Bob had this to say about his Ken Miller custom guitars: "Mary bought a Ken Miller quilted mahogany dreadnaught for me a couple of years ago. It is far superior to the Martin and Gibson guitars we have had and comparable to the very expensive pre-war Martins owned by a friend who is a collector. The sound is crisp and clear and the volume is exceptional even with light gauge strings. I can easily be heard even playing with several banjos and fiddles! The guitar is very easy to play and frets true up the neck. I couldn't be more pleased.

I have a Martin D-21 from the 60's. This was one of the last made from old growth coastal Brazilian Rosewood and is considered collectable and was valued at $3,000 ten years ago. Ken did extensive work on it for me which made it easier to play and much louder. However my Ken Miller guitar totally blows it away. I have played very expensive pre-war Martins which come close and a variety of other guitars, but have played nothing better IMHO.

It is a beautifully made and tastefully ornamented guitar with spalted magnolia around the sound hole and an Anhinga inlayed on the peg head. The quilted mahogany is very beautiful.

If I ever get another guitar it will be another Ken Miller, probably with a different wood for variety. On the other hand if I never get another guitar it won't matter because I am so pleased with the one I have."

Sold

The Musical Lady has a back and sides of flamed Koa with Brazilian Rosewood trim and a Red Spruce face. A Soft cutaway and a bevel make this guitar comfortable and easy to play. The head stock inlay is of Koa, Ivory from a piano key, and Red Abalone. The intricate fingerboard inlay is made of silver wire and Black Pearl. The soundhole rosette is made from Green Snail.

Sold

This custom guitar is a slope shouldered "D" with back and sides of flamed Koa and a face of Red Spruce. This guitar has a big presence combined with the very clear and balanced tone of Koa. Created for a career Naval officer, it has an Anchor inlay on the peghead and a dolphin at the 12th fret.

Sold

This Koa jumbo has astonishing balance and tone. It belongs to poet and musician Songmuang "Summer" Greer. He shared this with us about a month after his new guitar was delivered:

I've been putting as much play on my new guitar as my fingers will take, and it really does sound better every day. It's quite astonishing. This guitar really is the best guitar I've ever played *in every way*, and it's not even a month old. The response, tone quality, and playability are not only excellent but *flexible* as well. I can strum hard without overdriving the top and I can pick lightly or play fingerstyle and still get a full tone at low dynamic levels. This instrument would allow a player with excellent technique to explore unique dynamic and tonal possibilities. I only hope I can keep up with the guitar as it opens up - it certainly inspires me to play. Since we both have connections to the flute, I'll use a flute analogy to describe my perception of the tone I get from this guitar. Flute players and builders try to make flutes resemble a pleasing human voice, but they have the benefit of wind instruments that allow the player to at least hold out and shape a note. Guitars can't do that. Yet this guitar has such a characteristic tone that it sounds like the echo of a voice, which I have no doubt will become more distinct. Now all I have to do is learn what it's telling me.

Sold

This double point mandolin and "D" sized guitar with maple backs and sides was created for a customer who wanted matching instruments that are works of art with a Southwest theme. The faces are Red Spruce. A lizard inlay graces the pegheads and Kokopelli plays music on the fingerboards.

Sold

This custom Acousteel was built for a friend who wanted a "colorful" tropical inlay on the fingerboard. The back and sides are made from psychedelic curly Koa from Hawaii. The face is made of Adirondack Spruce. The fingerboard is of Ebony. The bridge and the peghead overlay are of Brazilian Rosewood. The tropical theme inlays are made from Paula Abalone, Red Abalone, Gold Pearl, Back Pearl, White Pearl, Koa and Turquoise.

Sold

The back, sides, bridge and peghead overlay of Virginia's slope shouldered D are of Birdseye Brazillian Rosewood. The binding is curly Hawaiian Koa. The face and internal bracings are of Adirondack Spruce. The neck is Mahogany and the fingerboard is Ebony. The nut, saddle and pins are Ivory with Abalone dots. The sound hole rosette is Green Snail. The pick guard is Italian Celluloid. The nut is 1 11/16", the string spacing at the bridge is 2 3/16" and the string length is 635mm (25"). This guitar has a sound port, an armrest bevel and gold Waverly tuners with Ebony buttons.

Sold

The back, sides, bridge and peghead overlay of this guitar are of Florida Rosewood, an invasive species, which in this instance was harvested by Hurricane Charley. The binding is curly Maple. The face is of Deadhead Cypress from the swamps near Blountstown, Florida. The neck is Cuban Mahogany from South Florida and the fingerboard is Ebony. The nut, saddle and pins are Bone with Abalone dots. The sound hole rosette and inlays are of Paula Abalone, Green Abalone and Koa, the pick guard is Clear Acetate. The nut is 1 3/4", the string spacing at the bridge is 2 1/4" and the string length is 635mm (25"). This guitar is completed with Nickel Schaller tuners and a Cedar Creek Custom case .

Sold

The back and sides of this guitar are Koa, the neck is Mahogany, is fitted to the body with a dovetail joint and has an adjustable truss rod. The fingerboard is Ebony, the peg head overlay and bridge are Brazilian Rosewood. The face, bracing and internal blocks are of Adirondack Spruce. The unkerfed lining is Cypress. The nut and saddle are Ivory, the bridge and strap pins are Horn with Abalone dots. The inlays are of Paua Abalone. This guitar is finished with oil varnish, has a clear acetate pick guard and Schaller tuners.

Sold

The back and sides are of Block-Mottled Mahogany. The neck is Mahogany with an adjustable truss rod and is fitted to the body with a dovetail joint. The unkerfed internal linings are Cypress. The bridge, head plate and bindings are of Brazilian Rosewood. The lower bout is 13 3/4 inches wide and the guitar has a 5 inch depth at the end pin which contributes to it's surprisingly big, rich sound. The arm rest bevel which allows this deep bodied instrument to be played in comfort, is Brazilian Rosewood. The fingerboard is Ebony and it is bound with Brazilian Rosewood. The scale length is 25.2 inches and the nut width is 1 3/4 inches. The face and internal bracings are of Adirondack (Red) Spruce. The nut and saddle are of Ivory. The bridge pins and strap pins are of Black Buffalo Horn with Paua Abalone dots. The inlays are of Green Snail, Paua Abalone, Red Coral and Koa. The lower bout is 13 3/4 inches wide. The instrument is finished with oil Varnish, has a clear Acetate pick guard and Nickel Schaller Tuners.

Sold

This testimonial was written by Bob Kidd about #118

Ken Miller has to be one of the pre-eminent custom, small-shop guitar builders of the new millennium. In my opinion, his work can be added to the pantheon of master luthiers widely known among flatpickers: Henderson, Walker, Hoover, Huss, Proulx. There are many good builders, but few can turn such humble materials into the magnificent tonal and aesthetic creations that are Ken’s instruments. Last summer I commissioned my second guitar with Ken and Virginia, based on two words I saw on their web site – “The Tree.”

Ken started building my guitar in 1965, although he did not know it at the time. In 1965 lumber mill scouts in Honduras' Chicibul jungle located a “magnificent mutant,” a mahogany giant, and cut it. Because of the way the cut tree fell and its overwhelming size, it was not until the early 70’s that a company with heavy equipment pulled the tree in sections from the rain forest and sawed it into boards. This was the beginning of the legend of “The Tree” which is described in an article by Mark Berry in the 1985 September/October issue of Fine Woodworking magazine. I had also read about “The Tree” in an article by Bob Taylor some years ago. George Lucas, creator Star Wars, apparently had his office in San Francisco paneled with it.

Ken indicated that he had managed to obtain 3 sets of “The Tree,” an auspicious and fortunate beginning to a great guitar. He called it “Brazilian favored mahogany.” We agreed that he would bring the wood to Kamp for a preview, including a “surprise” top set. So, I first saw my new guitar -- wooden pieces stacked next to the sink between the Kamp doctors’ rooms in Carnegie, the beginning of # 118: thin ribbons of dark Brazilian binding, a chocolate and caramel piece of Brazilian veneer, a long thin strip of black Ebony, two pieces of the dark, hard, glassy “Tree” with big quilt and three-dimensional figure even unfinished. The surprise top was an extremely rare piece of wide-grain Adirondack spruce with bearclaw. I don’t mean red spruce with occasional spots of bearclaw here and there, but top to bottom symmetrical bearclaw carved into the plank-board, wide grain.

Add to the fine collection of stacked wood pieces, stainless steel fret wire, mother of pearl pieces, oil varnish, and a set of hard-to-find “Tony” turners from Stew-Mac. We agreed that he would work to deliver the finished guitar by Christmas.

Two weeks before Christmas I received a note from Ken. “Poor news” the e-mail read. Ken had carved and mounted the neck, and he did not like something he saw in the neck wood. He decided to fashion a second one. This meant no Tree for Christmas. I was disappointed by the timing, but I was also pleased. I took this as another positive indication of Ken’s need to create the perfect neck for the already perfect body, without flaws or doubts.

Ground Hog Day about two months later, I received a note that it will be shipped within the next week. The silence is broken. The wait begins for what my friend Mike calls, “the brown truck of happiness.”

As it sits on my guitar stand now, I see stunning perfection, understated at a short distance, but full of marvelous details when held up close. I’d forgotten about the highly figured, Brazilian bridge mounted with hand carved walrus ivory pins with matching end and strap pins. There is no guitar like it, and probably nothing like it again.

How does it sound? Right out of the box, it was loud, focused, and commanding -- a guitar for playing lead. The trebles ring clear on all frets. The bass is dry mahogany, but a bit darker and richer than my other mahogany guitars. Ken’s guitars have a light build, the kind that delivers rib rattling bass from the back. The mid’s are really indescribable. They are not bluegrass mid’s but strong and cutting nonetheless. I attribute this special mid-range to the dovetail neck joint, a construction that delivers the open “G” note the entire length of the guitar. The setup of the Les Paul-shaped neck is perfect. A fine red line of wood separates the ebony fretboard and the Brazilian fretboard binding, pearl fretboard dots, and still more visual subtlety to distract me when I look down.

The back and sides are darker than most mahogany and with enough big, 3-D quilt to make a sailor seasick. Most of the expense of the guitar is in the back and sides. The varnish finish delivered all the excitement and beauty I expected.

Doubtless finer and more expensive guitars have been built, but today none finer in sight or sound than #118. Thank you Ken and Virginia.

Bob Kidd
February 9, 2008

Sold

"LITTLE STAR": a small jewel of a Parlour guitar with a 22 1/8" scale and a 12" wide lower bout. The back, sides and head plate of this guitar are made of Ziricote. The neck is Spanish Cedar with an adjustable truss rod, and is fitted to the body with a dove tail joint. The unkerfed linings are Cypress and the bindings are Koa. The fingerboard is Ebony and the bridge is Brazilian Rosewood. The rosette and fingerboard inlay is Green Snail. The face, bracing and internal blocks are Adirondack Spruce. The nut and saddle are Ivory as are the bridge and strap pins - which also have dots of Green Snail in Gold rings. This guitar is finished with oil varnish and has a clear acetate pick guard. The guitar is equipped with Gold Waverly tuners with Black Pearl buttons. Little star lives happily ever-after in the arms of performing and recording artist and music teacher Mary Z. Cox. Mary has this to say about Little Star, " If you pick up a guitar and it says, “Take me, I’m yours,” then that’s the one for you.---Frank Zappa

There is a chapter in Philip Toshio Sudo’s, Zen Guitar, called “Pick Up Your Guitar.”
Here is a bit of his advice on choosing the perfect guitar for his Zen method.
# Go into the world and find the instrument that’s waiting for you, the one you are meant to play.
# There’s an instrument for everyone.
# What’s important is that when you pick it up, it makes a sound that’s beautiful to you.
# Avoid poor craftsmanship; it’s a sign of a poor spirit.
# Learn to identify quality and appreciate anything that’s well made, wherever you find it.

Ken Miller certainly didn’t have me in mind for Little Star when he built her with care and spirit,
but even a banjo picker could tell from the first time she held Little Star, that this was a very
special guitar filled with wonder and special tunes.
Ken, I couldn’t be happier with this guitar. Love the ziricote, Spanish cedar, green snail, ivory,
gold and especially the black pearl tuning buttons. I love it that even with the parlour sized body
—it still has a full bodied guitar voice.
I can gently touch a note and it rings out loud and clear — perfect for a student of Zen guitar.
Thanks so much Ken and Virginia for building such a spirited and wonderful guitar pal for me.

Mary Z. Cox

You can check out Mary's website at: www.maryzcox.com and www.secretbanjo.blogspot.com

Sold

The back and sides of this guitar are made of Florida Walnut and the binding is Florida Eucalyptus - both are compliments of Hurricane Kate. The neck is Florida Mahogany from Key Largo, compliments of Hurricane Andrew. The Black Acacia on the back of the peg head and the unkerfed Cypress linings are also Florida woods. The face and internal bracing are of Adirondack (Red) Spruce. The neck is fitted to the body with a dovetail joint and has an adjustable truss rod. The fingerboard is Ebony and bound with Eucalyptus binding. The frets are stainless steel. The scale is 25.6 inches and the width at the nut is 1 3/4 inches. The nut and saddle are of Ivory. The bridge is Brazilian Rosewood. The bridge and strap pins are of Amber Buffalo Horn. The lower bout 15 1/2 inches wide. The inlays are of Abalone, Green Snail and Mother of Pearl. This guitar is finished with oil Varnish. The tuners are Schaller Minis and the instrument comes equipped with a Cedar Creek Custom Case.

Sold

This traditionally styled Flamenco guitar has back and sides of Spanish Cypress. The neck is made of Spanish Cedar and is fitted to the body of the guitar with the traditional Spanish Foot joint. The face and bracing are of Red Spruce and the unkerfed internal linings are of Cypress. The fingerboard is Ebony and has a 650 mm scale. The nut width is 52 mm. The bridge, traditional wooden tuning pegs, and all trim work is of Brazilian Rosewood. The lower bout is 14 1/2 inches wide. The sound hole rosette is a custom design, individually made by Ken Miller. This instrument comes with a custom matching traditional capo. It is completed with oil Varnish and clear Acetate tap plates. A TKL hardshell case comes with the guitar.

Sold

The back and sides are of German Curly Maple. The neck is Mahogany with an adjustable truss rod and is fitted to the body with a dovetail joint. The unkerfed internal linings are Cypress. The bridge, head plate and bindings are of Brazilian Rosewood. The lower bout is 13 ¾ inches wide and the guitar has a 5 inch depth at the end pin which contributed to its surprisingly rich sound. The arm rest bevel which allows this deep bodied instrument to be played in comfort is Brazilian rosewood. The fingerboard is Ebony and it is bound with Brazilian Rosewood. The scale length is 25.2 inches and the nut width is 1 ¾ inches. The face and internal bracings are of Adirondack (Red) Spruce. The nut and saddle are of Ivory. The bridge pins and strap pins are of are of Buffalo Horn with Abalone dots. The peg head and 12th fret inlays are Mother of Pearl. The instrument is finished with oil Varnish and has a clear Acetate pick guard. It has Nickel Schaller Tuners and comes with a Cedar Creek Custom Case.

Sold

Back and sides made from highy flamed Koa trimmed with Brazilian Rosewood. The face is made of Red Spruce. It has an armrest bevel for comfort and a sound port. Virginia has done extensive inlay with a bamboo design made out of Paua Abalone and Koa on the peghead. The Chinese characters on the fingerboard are made from Mother of Pearl and translate to Tai Chi.

Rolly has this to say about his Tai Chi Guitar: "I'm picky and demanding when it comes to guitars. I want my guitar to sound sweet and gentle on ballads, gutsy and gutteral on the blues. I want it to ring like a bell for bluegrass and sing out elegantly for swing and jazz. Most of all, I want it to be responsive and loud, so I don't have to struggle to get sound out of it. Only a handful of guitars I've ever played fulfill this requirement completely. My Ken Miller guitar is one of them, and it has a unique voice which somehow manages to sound traditional and/or modern as the music requires. In addition, it is simply a joy to hear and FEEL it resonate. The neck profile and setup are so perfect that I never even think about whether it's comfortable or not. In the bargain, it's a thing of beauty to behold (thanks in part to Virginia's amazing and tasteful inlay work), and it grows prettier every year as the face darkens. It is one purchase I've never regretted, and one of just a couple guitars which are definitely here for the duration."

Sold

This jumbo guitar is owned by three time Winfield winner and internationally known performer, teacher and creator of the Kaufman Acoustic Kamp. This is what Steve has to say about "Hunnert."

"I've owned many guitars in my musical career: Collings, Martins, Taylors, Gallaghers and now I own a cherrished Ken Miller Guitar. It is the most beautiful of all the guitars I have ever owned. Made of a figured Babinga African tonewood for the back and sides and Red Spruce top and braces. But beauty is only skin deep.
Ken's building skills are among the top few in the world. Coupled with Virginia's ability to create imaginative and intricate inlay patterns. They have crafted my guitar for beauty and to have the most even and balanced tone possible. It has the punch and volume of an old herringbone and the warmth and grace of a Ramirez classical. Whatever sound, whatever song, whatever tone I need, I can find it in my Ken Miller Guitar."

A jumbo size guitar created to commemorate Ken Miller's 100th guitar. The back, sides and back of the peghead are of Quilted Bubinga. The binding and arm rest bevel are of Brazilian Rosewood, as is the bridge and front of the peghead. The face and internal bracing is Adirondack (Red) Spruce and the internal lining is unkerfed cypress. The neck is Mahogany with an internal adjustable truss rod. It is fitted to the body with a dovetail joint. The fingerboard is Ebony with a 1 3/4" nut, and a 650 mm (25.6") scale. The nut and saddle are Ivory, as is the back strap and heel cap. The bridge pins and strap buttons are also Ivory, with Green Snail dots and Gold rings. The sound hole rosette is also green snail. The inlays are of Mother of Pearl, Gold Mother of Pearl, Green Snail, Red Abalone and Paua Abalone. The instrument is finished with oil varnish and a clear Acetate pick guard. The tuners are Gold Schallers with Mother of Pearl Buttons.

Check out Steve's website at http://www.flatpik.com/Steve-Kaufman-Acoustic-Kamp

Sold

This is our latest project which commemorates the customer's friend and companion, Daisy. This commemoration of Daisy is a jumbo size guitar with Koa back and sides, Red Spruce face, and Brazilian Rosewood binding. Tom is left handed so the guitar is a lefty with an arm bevel on the upper bout for comfort. The sound hole rosette is made of Koa. The inlay of Daisy is made of American Holy, Koa, Cherry, and Ebony. The scarf around her neck is Paua Abalone. Daisy is written in script with Mother of Pearl at the 12th fret. The fret markers are paw prints made of Mother of Pearl. There is a larger paw print on the peg head and a smaller on on the heel of the neck. The guitar has Waverly tuners.

Sold

This guitar has presentation grade Curly Claro Walnut back and sides, and is trimmed with Bloodwood. The neck is graphite reinforced and the neck and internal linings are of Spanish Cedar. The face is Engleman Spruce and the internal bracing is Red Spruce. The bridge and head plate are Brazilian Rosewood, the fingerboard is Ebony. The sound hole rosette is individually handmade. The nut, bridge tie plate and and saddle are made of Bone. The tuners are Gold Schallers with Mother-of-Pearl buttons. This guitar comes with a hard shell case.

Sold

The back, sides, bridge, head plate and binding on this guitar are all of Brazilian Rosewood. The neck has a graphite reinforcement, the neck and internal linings are of Spanish Cedar. The face and all of the internal bracing are of Red Spruce. The fingerboard is Ebony, the nut, bridge tie plate and saddle are of Fossil Ivory. The sound hole rosette is individually handmade. The tuners are Gold Schallers with Mother-of-Pearl buttons. This guitar comes with a TKL hard shell case.

Sold

This Hawaiian style lap guitar has a body of Koa and the resonating chamber is hollow all the way up to the first fret. The peghead is Spanish Cedar and the internal linings are of Florida Cypress. The face and internal bracing are of Red (Adirondack) Spruce. The nut, saddle and bridge pins are of Bone. The binding is Brazilian Rosewood. The fingerboard is Ebony and the bridge is Brazilian Rosewood. The inlays are of Mother of Pearl, Gold Pearl, Paua Abalone and Green Snail. The unusual bridge and internal bracing on this instrument are taken after the research and developments by Dr. Michael Kasha and luthier Richard Schneider, who originally designed this asymmetrical style of bracing for classical guitars. The guitar is finished with a clear plastic pick guard, Gold Schaller Tuners with mother of Pearl buttons, and has a built in "Pick Up The World" sound system and "PowerPlug" preamp.

Sold

Door Prize at the Kaufman Kamp!

These photos are of the Kamp Bear Guitar. This guitar is an OM style with Koa back and sides. The face is Red Spruce. The binding is Brazilian Rosewood. The peghead inlay is the Kamp bear logo made of Koa with an Abalone suitcase (headed for Kamp with a smile on his face) and the 12th fret inlay is a Mother of Pearl paw print. This guitar will be given away as a door prize at the Kaufman Kamp at the end of week one. Someone is going to get a wonderful clear, sweet sounding guitar - and it is light as a feather!

Sold

Phil Anania's new guitar is a "D" size guitar with Black Brazilian Rosewood back and sides. The face is made of Red Spruce. The binding and lower bout bevel are made of Koa. There is a sound hole port on the upper bout. The peghead dragon inlay was designed by Phil himself and executed in blue/purple/green Paua Abalone, Green Snail, ribbed Green Abalone, and Lapis with engraving by Ken Horne. The shell rosette is engraved with a Haiku poem which was also written by Phil. Ask Phil about his new guitar! :)

Here's what Phil had to say about his guitar on Flatpick-L:

Last year I commissioned Ken Miller to build me a custom dreadnought guitar. I received my guitar on Wednesday and I want to say a public THANK YOU to Ken and Virginia for building me a Masterpiece. My guitar is made of Black Brazilian Rosewood (back and sides), and is from the same set of wood as Old 97 but with out the orange strip. The top is Adirondack Spruce. Virginia did the inlay of a Dragon from a sketch I made. When I made the sketch I never imagined that the details would be recreatable but somehow Virginia was able to far out do my expectations for which I am beyond grateful for. The guitar has a short scale neck which makes medium strings feel like butter and Ken put a small bevel where the right arm rests to make it more comfortable. It is like having a recliner for your picking arm! This is the most comfortable guitar I have ever played and it is also the easiest acoustic guitar I have ever played. Like all of Ken's guitars, it is LOUD! It of course sounds wonderful and has that Ken Miller sound. I am very proud to have it and equally overjoyed to have it. It will provide tough competition for my 1939 Martin D18. I spoke with Ken last night and hopefully he will have some pictures of Dragon up on his web site soon. If you are unfamiliar with Ken's work, check out his web site to see where he will be as he always has a nice array of new ones for sale for perspective buyers to try out. Again, Ken and Virginia, thanks for making my Dragon come true!
-Phil

Read more testimonials here!

Sold

The back and sides are of Black Brazilian Rosewood. The neck is Mahogany with an adjustable truss rod and is fitted to the body with a dovetail joint. The unkerfed internal linings are Cypress. The bridge, head plate and bindings are of Brazilian Rosewood. The lower bout is 15 ½ inches wide and at the end pin the depth is 4 7/8 inches. The fingerboard is Ebony and is bound with Curly Koa. The scale length is 25.4 inches and the nut width is 1 ¾ inches. The face and internal bracings are of Adirondack (Red) Spruce. The nut and saddle are of Ivory. The bridge pins and strap pins are of Ivory with Abalone dots. The peg head inlay is of Black Mother of Pearl. The instrument is finished with oil Varnish and has a Italian Celluloid pick guard. It has Nickel Schaller tuners and comes with a Cedar Creek Custom Case.

Sold

Quilted Mahogany back and sides with Brazilian Rosewood binding and a Red Spruce face. Bob Kidd had this to say about his guitar, "I want to thank you again for the wonderful guitar you built me. Every time, I play it in a jam people comment on its beauty and its tone, not to mention the fact that it is loud. I've never played a mahogany guitar with a bass response like #105. Thank you again for all the care and attention."

Sold

This guitar has back and sides built out of Quilted Mahogany. The face, interior blocks and bracing are of Adirondack Spruce. The interior linings are of Cypress. The neck is Mahogany with graphite reinforcement and an adjustable truss rod. The bridge, peghead overlay and trim work is Brazilian Rosewood. The fingerboard is Ebony. The nut and saddle are of Fossil Ivory, and the guitar is inlayed with Mother of Pearl, Paua and Red Abalone. The strap buttons and bridge pins are of Horn. The pick guard is Italian Celluloid and the tuners are Nickel Schallers.

Sold

The back and sides are of Brazilian Rosewood, as are the head plate and the bridge. The binding and trim are of Curly Maple. The face and internal bracing are of Adirondack (Red) Spruce. The interior linings are of unkerfed Cypress. The neck is Mahogany and has an internal adjustable truss rod. It is joined to the body with a dovetail joint. The fingerboard is Ebony, with a 1 ¾ inch nut and a 645 mm (25.4") scale. The lower bout is 15 ¾ " wide. The nut, saddle, bridge pins and strap buttons are of Ivory with Paua Abalone dots. The sound hole rosette is Koa. The inlays are of Mother of Pearl, Purple Heart and Rosewood. The instrument is finished with oil varnish. The pick guard is Celluloid and the tuners are Nickel Schallers. Snow Capped is owned by recording and performing artist Becky Taylor, teacher and luthier. http://beckytaylor.biz/.
.

Sold

This guitar has back, sides and trim work of Hawaiian Koa. The face, interior bracing and blocks are of Adirondack Spruce. The interior linings are of cypress. The neck is Mahogany with graphite reinforcement and an adjustable truss rod. The bridge and peghead overlay are of Brazilian rosewood. The fingerboard is of Ebony. The guitar is extensively inlayed with Paua and Green Abalone. The nut and saddle are of Fossil Ivory and the pick guard is of Italian Celluloid. The strap buttons and bridge pins are of Horn. This guitar comes with Nickel Schaller tuners.

Sold

The back and sides of this guitar are made of Hawaiian Koa, and feature our “Soft“ cutaway. The neck is of Mahogany and is fitted to the body with a dovetail joint. The neck also has a hidden adjustable truss rod. The bridge, head plate and binding are of Brazilian Rosewood. The fingerboard is of Ebony and it is bound with Brazilian Rosewood. The scale length is 25 inches and the nut width is 1 3/4 inches. The face and internal bracings are of Red Spruce. The internal linings are of unkerfed Cypress. The lower bout width is 15 inches. The strap pin and bridge pins are of Horn with Abalone dots. The Butterfly inlays are of Abalone and Silver. The pick guard is of clear Acetate. This instrument is finished with oil Varnish and is equipped with a Pick-UP-The-World pickup and Power Plug external preamp. It is fitted with Schaller tuners and comes with a Cedar Creek Custom case. This guitar is light as a feather and has a clear bell like tone.

Sold

The back, sides and back of the peghead on this guitar are made of Koa. The neck is Mahogany and the internal linings are Florida Cypress. The neck has a hidden, adjustable truss rod. The bridge, binding and peghead overlay are Brazilian Rosewood. The fingerboard is Ebony. The face and internal bracings are of Red (Adirondack) Spruce. The inlays are of Black Pearl, Mother of Pearl, Turquoise and Silver. The nut and saddle are of Ivory and the bridge pins are of Buffalo Horn. This guitar comes with Schaller tuners and a custom Cedar Creek case. The pick guard is clear acrylic. A built in "Pick Up The World" pickup and "Power Plug" pre amp allow for amplification.

Sold

This Hawaiian style lap guitar has back, sides and trim work of Hawaiian Koa. The peghead is of Spanish Cedar. The face and internal bracing are of Adirondack Spruce. The interior linings are of Cypress. The bridge and peghead overlay are of Brazilian Rosewood, the fingerboard is of Ebony. The nut, saddle and bridge pins are of Bone. Inlays on the face, fingerboard and peghead are of Green Snail, white and Gold Mother of Pearl, Paua and Red Abalone. The pick guard is clear acetate. The Acousteel has Gold Schaller tuners with Mother of Pearl buttons, and is equipped with a “Pick-up-the-World” Pickup system and “Power Plug” preamp.

Sold

The back and sides of this mandolin are made of Curly Maple with Curly Koa trim. The neck is Mahogany with a Burl Walnut face plate and Koa back plate on the peg head. The neck has a graphite reinforcement and is fitted to the body with a dovetail joint . The face and bracings are of Adirondack Spruce. The unkerfed internal linings are of Florida Cypress. The fingerboard is Ebony and bound with Curly Koa binding. The bridge is Brazilian Rosewood. The nut width is 1 3/16 inches and the scale length is 13 7/8 inches. The lower bout is 10 inches. The inlays are of Red Abalone. The nut is Ivory and the end pin is Buffalo Horn. The instrument is finished with oil Varnish. This mandolin has Schaller Tuners and a Hamlett Tail Piece. This mandolin has a bright, woody sound and plenty of volume.

Sold

This Hawaiian style lap guitar has a body of Koa and the resonating chamber is hollow all the way up to the first fret. The peghead is Spanish Cedar and the internal linings are of Florida Cypress. The face and internal bracing are of Red (Adirondack) Spruce. The nut, saddle and bridge pins are of Bone. The binding is Curly Maple. The fingerboard is Ebony and the bridge is Brazilian Rosewood. The inlays are of Mother of Pearl, Gold Pearl, Paua Abalone and Green Snail. The unusual bridge and internal bracing on this instrument are taken after the research and developments by Dr. Michael Kasha and luthier Richard Schneider, who originally designed this asymmetrical style of bracing for classical guitars. The guitar is finished with a clear plastic pick guard, Gold Schaller Tuners with mother of Pearl buttons, and has a built in “Pick Up The World” sound system and “PowerPlug” preamp.

Sold

FLORIDA This guitar is made almost entirely of Florida woods. The back, sides and peg head overlay are made of Walnut, the neck is Cuban Mahogany and uses a dove tail joint and an adjustable truss rod. The face and the internal unkerfed lining are Deadhead Cypress, the binding is Eucalyptus. The fingerboard is Ebony and the bridge is Florida Rosewood. The inlays are of Mother-of-Pearl and Green Abalone. The nut and saddle are Ivory, the bridge and strap pins are of Horn with Abalone dots. The guitar is finished with oil varnish, has a clear acetate pick guard and is equipped with Schaller tuners.

Sold

This "D" size guitar has back and sides of Curly Mahogany. The face, interior blocks and bracing are of Adirondack Spruce. The interior linings are of Cypress. The bridge, peghead overlay and trim are of Brazilian Rosewood. The fingerboard is of Ebony. It has a Mahogany neck with graphite reinforcement and an adjustable truss rod. This guitar has inlays of Green Snail, Black Pearl, Gold Pearl and Silver. The nut and saddle are of Fossil Ivory. The strap buttons and bridge pins are of Horn. The guitar has an Italian Celluloid pick guard, and has Nickel Schaller tuners. This guitar has exceptional tone and volume!

Sold

The White Bear Guitar has back and sides made of Block-Mottle figured Mahogany. The face, internal blocks and bracing are of Adirondack Spruce. The neck is Mahogany with graphite re-enforcement and an adjustable truss rod. The fingerboard is Ebony, and the bridge, peghead overlay and trim are of Brazilian Rosewood. The interior linings are of Cypress. The White Bear peghead inlay and Bear Paw inlay at the 12th fret are of White Mother of Pearl. The nut and saddle are of Fossil Ivory. The strap buttons and bridge pins are of Amber Horn. The pick guard is of clear Acetate and this guitar comes equipped with a "Pick-Up-the-World" pickup and a "PowerPlug" pre-amp. This guitar has Nickel Schaller tuners.

Sold

This guitar is built with back, sides, bridge and peghead overlay of Brazilian Rosewood. It is trimmed with Koa. The face, internal bracing and blocks are made of Adirondack Spruce. The neck is made of Mahogany with graphite reinforcement and an adjustable truss rod. The interior linings are of Cypress. The fingerboard is Ebony and the guitar is inlayed with Green Snail, Paua Abalone and various exotic woods. The nut, saddle, strap button and bridge pins are made of Fossil Ivory. The guitar has an Italian Celluloid pick guard and Gold Schaller tuners. This guitar is owned by Allan Shadd who has won many flatpicking contests with it.

Sold

The back and sides of this guitar are of rare Birdseye Brazilian Rosewood. The neck and internal linings are of Mahogany and the neck has a hidden adjustable truss rod with graphite reinforcement. The bridge and head plate are of matching Birdseye Brazilian Rosewood, the finger board is Ebony and the trim is Koa. The face and internal bracings are Red Spruce with a sound hole rosette of Green Snail. The nut and saddle are made from Fossil Ivory and the end pin and bridge pins are of Fossil Ivory with Abalone dots. The Hummingbird Inlay is made of Clear Abalone, Heart Abalone and Gold Pearl. The Flower Inlay is made of Red and Paua Abalone. The pick guard is Italian Celluloid and the tuners are Gold Schallers.

Sold

This mandolin was built by Ken in 1978. It has Maple back and sides with a Sitka Spruce face. The fingerboard is Ebony and the bridge is Brazilian Rosewood. The peghead overlay is Burl Walnut. The peghead and fingerboard are inlayed with green and red Abalone, and a Mother of Pearl nameplate at the twelfth fret. The instrument is bound in Ivroid.

Sold

This is my interpretation of a pre-Revolution Master quality Russian instrument. The back of the balalaika is Quilted maple and the neck is Curly Maple. The face is German Spruce as are the internal bracing and linings. The instrument is trimmed in Walnut and Brazilian Rosewood. The fingerboard is Ebony and the bridge is Brazilian Rosewood. The nut is made of Pearl, the saddle and string pins are of Ivory. The tuners and cover plate are Gold with Mother-of-Pearl buttons. The inlays are of Mother-of-Pearl, Gold Pearl and Green Abalone. Colored wood marquetry compliments the instrument, including the "Dogwood Blossom" at the sound hole.