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Late ’60s Michael Millard and William Cumpiano Replica Gurian Model #2 Brazilian/Spruce
***Clarification: This is not a Froggy Bottom Guitar, but rather a project guitar built prior to the launch of Froggy Bottom. See below. This, folks, is an interesting guitar from the early days of independent makers. In the world of contemporary guitar construction, the names Bill Cumpiano and Michael Millard (founder of Froggy Bottom Guitars) are synonymous with early innovation–we have these men to thank for our present plethora of builds, designs, voices, and styles that populates the contemporary guitar world. Back in the lates 60’s/early 70s, when Bill and Michael had just begun their solo careers after years spent with Gurian Guitars, they shared a workshop to cut costs. They came together to build this one in the style of a Gurian #2 model, this guitar has a three-piece Brazilian Rosewood back, Spruce top, and a slightly smaller body that packs a punch (or several). The voice is sweet and rich and loud (thanks to the fully-opened Spruce top), and performs beautifully for American Trad music or for Blues and Rags. Note: This guitar does have a hand drawn label inside that reads Froggy Bottom, but it was likely done in fun during construction.
SOLD Read moreScale Length 25.6300 in Nut Width 1.6600 in String Spacing 2.1900 in Woods Spruce, Rosewood - Brazilian 
1999 Henderson 000 Brazilian/Adirondack (Red)
This guitar was built for one purpose: to be the perfect companion for any guitarist, regardless of style. Played softly, this Henderson OM/000 whispers sweet and sultry; aggressively, she wails “Foggy Mountain Breakdown” to put Earl Scruggs‘ banjo to shame. At the touch of your fingertips, each string has its own voice and sings perfectly in unison with the others; flatpicks give this Henderson a chance to stretch its jaws and really howl. Basically, this Henderson OM/000 can take whatever piece of music you throw its way and make it ten times cleaner, more dynamic, and sweet. For the definitive powerhouse OM/000, look no further: this one is bold, articulate, and responsive, with trebles that have a huge presence and the kind of warm, sweeping low-end we always associate with Hendersons. Would you expect less from Brazilian Rosewood back and sides, an Adirondack Spruce top, and Wayne’s absolute mastery of the craft? We wouldn’t; never has a Henderson passed through our shop that didn’t leave our jaws hanging–this one just happened to bring a tear to our eyes, too.
SOLD Read moreScale Length 24.7500 in Nut Width 1.7500 in String Spacing 2.06 in Woods Spruce - Adirondack (Red), Rosewood - Brazilian 
Greenfield Montreux Quilted Maple/Spruce
One of but a few, this sparkling green Montreux Archtop from Michael Greenfield is the pinnacle of contemporary archtop construction. If Michael’s hands have touched it, you know the guitar is going to be a knock-out–and this one fits the bill nicely. With gorgeous Quilted Maple back and sides and a Spruce top finished to an emerald hue, this guitar exudes an aura of originality and excitement. Unplugged, the voice is silky and expressive, with trebles that are well-balanced. When the custom-wound Armstrong pickup employed, that voice powerful and absorbing with amplification. Now, as you may know, Greenfield’s archtops are hard to come by. They have a notoriety that is due only in part to the fact that Michael doesn’t build them very often, but does so to his exacting standards. As such, the craftsmanship on this instrument is stellar, from the voicing of the top to the adjustable bridge (which works by using different included shims to raise or lower the string height) and the all-Ebony hinged tailpiece. This one has fallen into our lap, but it won’t be there for long. This is Paul Hinton’s personal guitar, and was played by Joe Finn before him, who called it the “Green Iguana.”
Follow the link below to hear Paul’s arrangement of “Georgia On My Mind” and “Misty,” where you can see for yourself how a big-bodied archtop from Michael Greenfield can manage to sound huge and intimate at the same time.
https://www.youtube.com/watch?v=GjBbR84iO9M
https://www.youtube.com/watch?v=4kNkXKFTVbw
Follow the link below to hear Al Petteway’s take on this excellent instrument!
SOLD Read moreScale Length 25 in Nut Width 1.7500 in String Spacing 2.1300 in Woods Spruce, Maple - Quilted 
2012 Phillips Parlor German Silver/German Silver
Nothing sends shivers up your spine like a slide guitar in an open minor tuning. Similarly, nothing quite captures the kind of contentment that comes from playing old Blues numbers on your porch after a long day’s work like a metal resonator guitar in your lap. In this 2012 small-bodied Parlor from R.E. Phillips, you get both.Phillips has done a number on us this time: with a small but deep-bodied Parlor built from German Silver and his own resonator cone, Phillips has created a metal-bodied resonator guitar that is just as rich, dynamic, and elegant as its wooden-bodied brethren. For starters, German Silver has a clean, expressive tone, not warm like brass, not bright like steel. If German Silver were a wood, it would be a Rosewood for how much richer its voice is than other metals. The smaller body is amazingly easy to play, and the setup is excellent for slide or regular fingering. We tried out a number of different tunings on this Parlor, but we kept coming back to DADFAD and Open G–something about the elegant coolness of the German Silver turns the spooky factor up to eleven on minor tunings.Phillips’ Art Deco sympathies are evident in the design aesthetic of the F Holes and the diamond-over-mesh motif, which further help set it apart from other resonator guitars, while not being outlandish or inaccessibly appointed. It’s a classier resonator than you’re used to, but it can growl and scream with the best of them.
SOLD Read moreScale Length 24.6250 in Nut Width 1.7500 in String Spacing 2.3100 in Woods Silver - German, Silver - German 
1997 Collings OM3-BaA Brazilian/Adirondack (Red)
Folks, gather round: we’ve got another powerhouse Collings on the rack! This 1997 OM3-BaA exemplifies everything we associate with Collings Guitars, from the big and bold voice to the flawless fit and finish and well-balanced registers. In their 14-fret OM shape, this guitar gives you the strength and projection of a Collings Dreadnought with a very easy to play size.The Brazilian Rosewood back and sides are a treat to behold, and when combined with a Sunburst Adirondack Spruce top, the result is easy on the eyes and heaven for the ears. Think about it: all the warmth and richness of Brazilian Rosewood, the powerful drive of the Adirondack Spruce, and Collings‘ top-notch craftsmanship, in one guitar. We’re talking about quite the number of awesome forces at play under the hood!This 1997 OM3-BaA runs like a well-greased engine, folks–come take a spin!
SOLD Sale! Read moreScale Length 25.5000 in Nut Width 1.7500 in String Spacing 2.1900 in Woods Spruce - Adirondack (Red), Rosewood - Brazilian 
New Oxwood Handmade Carmen Cocobolo/Engelmann
“Carmen,” fresh from Bradley Daniels‘ shop, sings like she’s got something to prove. We were taken aback when we first opened the case and tuned her up: how could so much voice project out of a body this size? Needless to say, Oxwood Handmade is setting the bar pretty high for competition. This multi-scale beauty comes to us with Cocobolo Rosewood back and sides and an Engelmann Spruce top in a curvaceous package teeming with energy.With Gold Evo frets adorning the fan-fret Ebony fingerboard at 25″ on the Low E and 24″ on the high E, Carmen is a shorter overall scale than folks are used to with multi-scale fingerboards, but the impact on the guitar’s tone is palpable. That Low E has a giant, round tone that perfectly complements the shimmers of the high E, and the warm, expressive strings between.Blessed with haunting sustain and excelling at lower tunings, Daniels‘ Carmen feels and plays like a smaller guitar, but sounds like a much bigger instrument. With understated and tasteful appointments like the Wenge rosette and backplate or the magnetic truss rod cover, the guitars from Oxwood Handmade make a powerful, poised statement.
SOLD Sale! Read moreNut Width 1.8100 in String Spacing 2.3100 in Woods Spruce - Engelmann, Rosewood - Cocobolo 
New Osthoff Woodstock FS Higuerilla/Cedar
Fresh from the 2015 Woodstock Invitational Guitar Showcase, we’ve got John Osthoff’s newest creation just itching to be played. Dubbed his Woodstock FS, this model features a Port Orford Cedar top and Higuerilla back and sides to create a voice with an even blend of big, warm projection and clean, balanced tones across the registers. Thanks to Osthoff’s lightweight build, the Woodstock FS has superb projection and the sort of sweet sustain that fingerstylists look for: open and passing chords ring very full and crisp, and Drop D lets the Port Orford Cedar’s warmth overflow.John’s eye-catching aesthetics help round out the image of this beautiful instrument. Featuring Sapwood bindings across the headstock, Ebony fretboard, and body and Osthoff’s handmade Japanese Maple Leaf inlay, you’ll want to play this one in a room with a mirror. Be careful with the Canary and Rosewood spiraling rosette, though–it’s easy to become hypnotized–or is that the sweet, rich tone?With deep, comprehensive articulation for fingerstylists and excellent construction for projection, this Woodstock FS from John Osthoff is ready to get down to business.
2005 Kronbauer TDK Ziricote/Cedar
We’ve got an excellent Kronbauer in great shape here today. Showing off a beautiful set of Ziricote for the back and sides for strength and drive, topped with Red Cedar to mellow the tone and turn up the heat on the warm, rich voice, this TDK Mini Jumbo is another great example of Trevor’s abilities. Kronbauer’s done something impressive here, creating a Cedar-topped guitar whose trebles are nonetheless sweet and well-balanced and whose low E has a smooth, subtle responsiveness. Bound in Curly Maple, the colors of the Ziricote and Cedar really pop, and Kronbauer’s spalted rosette is eye-catching. If you glance inside, you’ll see an Active Undersaddle Pickup with volume and tone knobs just inside the rim. With rich overtones and an exceedingly well-balanced voice, this TDK is ideal for fingerstylists and has enough projection and bark to satisfy flatpickers as well.
SOLD Read moreScale Length 25.5000 in Nut Width 1.7500 in String Spacing 2.2500 in Woods Cedar, Ziricote 
1946 Martin D-28 Brazilian/Sitka
A Bluegrass champion has risen, just in time for the holidays! And it comes to us straight from the hands of a Bluegrass legend, Mr. Tim Stafford of Blue Highway fame. This 1946 Martin D-28 of Stafford’s has been one of his staple guitars for quite a long time, and now you have the opportunity to add it to your arsenal, instead. Featuring the kind of straight-grained Brazilian Rosewood that was then an industry standard (and now is all but impossible to find) and a darkly sunburst Sitka Spruce top, this D-28 is a jaw-dropper. This kind of vigorous, muscular tone, you know it’s a Bluegrass machine, with clean highs and a low-end that is big, but controlled. Almost 70 years old, this working relic plays like it’s 20, and is set up for Bluegrass-style attack. With all that bark, you’d think it was a three-headed dog–take one bite, and you won’t like the taste of anything else. According to Wayne Henderson, this guitar was retopped by Martin in the late 40s, when it was still a baby, so the top has been played in and fully opened up since then. This D-28 is true vintage, and bears the marks of musicmaking with pride.
SOLD Read moreScale Length 25.4000 in Nut Width 1.7200 in String Spacing 2.1300 in Woods Spruce - Sitka, Rosewood - Brazilian 
1957 Martin D-21 Brazilian/Sitka
Just when you think you’ve got the vintage Martin sound memorized, there comes a guitar like this 1957 D-21 to turn it on its head. Think of it this way: this D-21 has had 58 years in which to learn how to sound good–and brother, this guitar took notes. The voice that comes screaming out of this Brazilian Rosewood and Sitka Spruce box is true vintage, broken in, opened up, and raring to go. The trebles are crisp and sweet, and the bass rolls like a kettle drum. Flatpickers will have their solos explode across the airwaves with the great projection and sustain, and Traditional-style fingerpickers have a strong, articulate voice in which to express themselves and their favorite arrangements. And this isn’t just your run-of-the-mill Martin from the 50’s–this D-21 has recently had a tune up at the hands of our own Ken Jones, who has restored this guitar to the playing condition of its adolescence.
Ever wonder what gorgeous vintage woods could do with a new pair of legs? Cover many more miles of great music, that’s what. Now, you can rest assured that this D-21 is ready for another 30 years. All that warmth, that punchy growl, the big, loud bark–all of that has been preserved for the next chapter of its life–in your hands. This guitar comes with a Martin molded hardshell case.
SOLD Read moreScale Length 25.4000 in Nut Width 1.6900 in String Spacing 2.1300 in Woods Spruce - Sitka, Rosewood - Brazilian 
New Charis SJ Mango/Engelmann
A guitar shouldn’t be allowed to sound this good. And yet, this 2015 Charis SJ does, with a voice that is thoughtful, probing, and articulate. Bill Wise has outdone himself again, but we hope he didn’t break the mold when he built it, because nothing would make us happier than to see more and more of these compellingly rich-sounding guitars come through our showroom.
This Mango-and-Engelmann Spruce SJ follows you like an old bandmate: perfectly in sync, with nothing lost in translation, just one mind between guitar and player. The trebles have a silky sheen to them which masks a strong, unshakeable clarity underneath. The low-end is eloquent and resounding, well-balanced with middle register that has a small trove of sweet and subtle overtones all of its own. Intonating perfectly, you can play any genre with any style, and the result is humbling. This SJ exudes an aura of effortlessness–it knows how to play the part of virtuoso with grace.
Wise’s choice of Mango and Engelmann is an excellent one: the slightly softer voice of the Engelmann complements the richness of the Mango and creates a tonal palette which is expansive and expressive, but not overwhelming. In a word, this SJ has poise. With the addition of a Koa arm rest and rib rest, Koa bindings across the neck and body, and a Koa-bound soundport, Wise knows how to pair different grains to beautiful effect–right down to the microbevel in the Ebony fretboard binding. Just in time for the holidays, this Charis SJ comes as the perfect present, more valuable and important than pearls or another gold watch.
SOLD Read moreScale Length 25.6300 in Nut Width 1.6900 in String Spacing 2.2500 in Woods Spruce - Engelmann, Mango 
1996 Lowden F23 Claro Walnut/Cedar
There are Lowdens, and then there are Lowdens. This 1996 F23 we have in the shop is the latter: bold, bright tone, lightweight construction, heavy duty projection. Part of George Lowden’s Original Series, this F23 has more punch and focus than its O23 counterparts, but all their depth. As a result, the F23 is very responsive, with a hearty, dry tone that is electric for flatpicks and balanced for fingerstyle arrangements. With great string-to-string articulation, combined with the Claro Walnut’s dryness, this guitar can cut through the mix and works wonderfully for the solo guitarist seeking an instrument which can project all that articulation cleanly and expressively. Complete with the original Hiscox hardshell case (adorned with white bars and “fragile” images), this F23 is ready for years and years of great music.
SOLD Read moreScale Length 25.5000 in Nut Width 1.7500 in String Spacing 2.1900 in Woods Cedar, Walnut - Claro 
1999 Breedlove MJ22/E Macassar Ebony/Spruce
Few guitars play quite like a Breedlove–and even fewer 12 strings. From woods to voice, this is a beautiful, elegant, and responsive creature. This 1999 MJ22/E 12-string from Breedlove exudes a smoothness both of aesthetic and acoustic proportions: between the Macassar Ebony back and sides and Spruce top and the clean, well-balanced tone, it’s hard to tell which is silkier. The easy playability lends itself to fingerstyle, but a flatpick wouldn’t be out of place on these strings either. Played lightly or by digging in, there are sweet treble to bask in and shimmering octave strings to soak up, with a bottom end that is clean and controlled. Regarding projection, this 12 string’s got it made: it is equally responsive as a singer-songwriter’s quiet harmony or a smoking solist’s number 1 trick.
2006 Hill Special Indian/Engelmann
The label on this 2006 Kenny Hill says it all: “Special.” From the gorgeous Indian Rosewood back and sides and Engelmann Spruce top to the dual soundports flanking the heel of the neck, this is not a classical to trifle with. The voice of this guitar is vigorous, vibrant, capable of great projection without any loss of fidelity when you really dig into the strings. If the power of the trebles is a standard test for the quality of a classical guitar, then this one passes with flying colors (the B string, in particular, has great body and energy). Not to be outdone, the low-end is warm and enveloping, and the dual soundports help to send that big bottom end right to your ears. For ease of play, Hill added an elevated fretboard and introduced a subtle taper across the body from the high E to the low E, tilting the top back slightly in favor of the player’s chest, to enable easier fretting while standing. This is definitely a gigging nylon string–between the B-Band pickup, body taper, and strap buttons, the Special is ready to be played in any position, for any piece, sounding like a guitar that has opened up after 40 years, and not just nine. Moreover, this is the first Signature Standup model that Kenny played in 2006! A bit of history you can play seated or standing. Below is a link to Hill’s website, where he explains the innovations of his Standup model and this guitar in particular.
http://www.hillguitar.com/showroom/guitars/2469standup.html
http://www.hillguitar.com/website/catalog/standup.html
SOLD Sale! Read moreScale Length 25.6300 in Nut Width 2 in String Spacing 2.2500 in Woods Spruce - Engelmann, Rosewood - Indian 
2014 Froggy Bottom H12-C Deluxe Madagascar/Adirondack (Red)
Practically brand new, this 2014 Froggy Bottom H12-C Deluxe is itching to get down to the business of making great music. One of Froggy Bottom’s smaller bodies, the H12 is lightweight but bombproof, easy to play but robust enough for great projection. Thanks to the Madagascar Rosewood back and sides and Adirondack Spruce top, the guitar has good drive and a warm, rich tone that lends itself both to flatpicks or fingertips. Bound in Curly Maple and featuring a sparkling Abalone rosette and slotted Waverly tuners, this guitar will win many competitions on looks alone.
An instrument for which a lighter attack is preferred, the H12-C Deluxe has a great capacity for dynamic, nuanced voices, and would work well for a variety of applications, from singer-songwriter to Blues, and with a Venetian Cutaway you can reliably access the entire Ebony fretboard. If you’re looking for a new Froggy Bottom but the bank account can’t quite agree, this 2014 H12-C Deluxe is a dream come true.
SOLD Read moreScale Length 25 in Nut Width 1.7500 in String Spacing 2.1900 in Woods Spruce - Adirondack (Red), Rosewood - Madagascar