Gregory Miller, 2024

Most guitars are built to impress a hall; № 80 was also built to spoil the player. A 640mm scale, cedar and Indian rosewood guitar with a side soundport, it is the sister instrument to the spruce No. 79 we previously represented.

A direct protégé of Jeffrey Elliott and Cyndy Burton, Portland-based luthier Gregory Miller carries their legacy forward with refined craftsmanship, elegant design, and the warmth and openness that characterize Elliott-inspired guitars.

For a classical guitarist, attention to detail matters, and here it is embodied in a guitar. This is only Miller's 80th instrument, which should not be mistaken for inexperience. He builds slowly and carefully, with a very low output, and the refinement shows in every corner of this guitar, in the aesthetics and in the sound alike.

Comfort is the headline here. The 640mm scale length makes stretches shorter, shifts easier, and long practice sessions noticeably less fatiguing, all without sacrificing tension or projection. Paired with a 53mm nut, the string spacing remains generous for clean right hand articulation while the fretting hand enjoys the relaxed reach of the shorter scale. Players coming from a standard 650mm instrument tend to feel the difference within the first minute.

That pairing of a 640mm scale with a 53mm nut is unusual, and it answers a request we hear often: players with larger fingers who struggle with long stretches, yet feel crowded on a narrow fingerboard. This guitar solves both at once. In the hand it does not feel wide at all; we would have guessed 52mm.

Then there is the side soundport. It acts as a personal monitor, sending the guitar's voice directly up to the player. You hear exactly what your audience hears, in real time, which makes playing this instrument an unusually intimate and rewarding experience. A thoroughly classic, traditional guitar with a soundport is a combination we have come to like very much, and it works beautifully here.

Sound

This is cedar the way the Elliott lineage intends it: warm, round, and immediately responsive, with a singing quality that flatters the player at every dynamic level. The main air resonance sits at G, giving the bass register a grounded, powerful foundation while keeping the midrange clear and woody. In practice the basses feel deeper than that pitch would suggest.

It is, frankly, a breath of fresh air: a great traditional voice with the punch of cedar behind every note, and a woody, airy quality from the soundport that gives the player a true picture of what is arriving on the other side of the guitar. Notes are snappy and articulate, carrying a complex set of overtones.

The trebles carry that characteristic cedar sweetness, blooming easily under the fingers with color and sustain. Sustain is one of the defining characteristics of this guitar, and it is not simply a matter of length. The character of each note continues to develop as it lingers, so a held pitch stays alive and interesting rather than just fading. The third string speaks quickly and is easy to play at speed, and the fourth has a lovely, full midrange.

Just as impressive is the evenness. Every note carries the same weight and the same pulse, a quality that anyone who has known many guitars will recognize as very difficult to achieve, and it makes a real difference when carrying a melody. The guitar responds instantly to a light touch, yet rewards commitment: it can be played gently, or it can be driven, and the harder you lean into it, the more it opens up.

Playability

With the shorter scale, the comfortable 53mm nut, and the soundport feeding the sound straight back to the player, this is an instrument that feels effortless in the hands, one where technique serves music rather than fighting the fingerboard. The frets are tall, which makes the guitar very easy to play, and the fingerboard never feels as wide as its measurement. It invites longer sessions and repays them.

The craftsmanship reflects Gregory's background in furniture and interior design, with clean lines and flawless joinery throughout. The rosette is the first thing to catch the eye: a geometric pattern of triangles alternating light and dark at its center, bordered by a fine motif on the inner and outer rings. That same motif is echoed on the tie block of the bridge, in the strip running down the center of the back, and again on the headstock, tying the whole instrument together.

The soundhole itself carries one of our favorite subtle touches. Its edge is carved to taper down into the opening, with a small notch on either side, a detail Miller also used on № 79. The label is unusual as well, set horizontally to run with the grain of the cedar, and reads Gregory Miller, 2024, № 80.

Under the top is a seven fan bracing pattern with a small bridge patch and no closing bars, simple and classic. The bridge is a handsome piece of rosewood, and the back and sides are a beautiful set of Indian rosewood. At 1,555 grams the guitar is fairly light.

The headstock is a cool, modern design with a slot down the center and small notches to the left and right, and the back of the head carries an Indian rosewood veneer to match the back and sides. The Klaus Scheller tuning machines are a premium touch, with two tone base plates and black rollers, turning with the precision that has made Scheller a favorite among the world's finest makers. A particularly classy detail: copper fret markers at the 5th, 7th, and 12th frets, small hollow rings that sit subtle and handsome against the fingerboard. The side soundport is smoothly executed and integrates naturally into the design.

Specifications

Bracing: Seven fan with bridge patch, no closing bars
Soundport: Side soundport
Fret Markers: Copper rings
Headstock: Slotted center design, Indian rosewood veneer on the back
Label: No. 80 (2024)

Gregory Miller was born and raised in western Kansas and has been working with his hands since childhood. His early fascination with fine woodworking led him to study design and furniture making at Kansas State University, where he earned a Bachelor of Interior Architecture in 1988. After more than a decade practicing interior design in Portland, Oregon, he transitioned to building custom furniture full time, eventually discovering his passion for classical guitar making.

In 2003, after meeting Jeffrey Elliott and Cyndy Burton at the Northwest Handmade Musical Instrument Exhibit, Miller began studying directly with them and has maintained a close mentorship ever since. His guitars are known for their precision, balance, and clarity, with an aesthetic that reflects decades of experience in architecture and fine craftsmanship. He builds one instrument at a time from his home workshop in Portland, focusing on tonal consistency, refined design, and lasting musicality.

Excellent condition overall. The cedar top is in beautiful shape, showing only a few small marks and light scratches here and there, as one would expect of a guitar that has been played for two years. The guitar is structurally perfect.