Neck:Mahogany
Fingerboard:Ebony
Finish(Top):Shellac
Finish(Back & Sides):Shellac
Tuning Machines:GOTOH
String Height(1st):2.8mm
String Height(6th):3.6mm

[Luthier Information]

Thomas Humphrey (1948–2008) was a pioneering American luthier born in Minnesota. Originally a trained cellist, Humphrey often credited his deep understanding of the cello as a major influence on his approach to guitar making.

In 1970, he traveled to New York and became an apprentice to Michael Gurian, working and studying guitar construction under him for eleven years. A turning point came in 1981 during a visit to Los Angeles, where he participated in a masterclass led by Andrés Segovia and had the opportunity to study several legendary Spanish guitars owned by a prominent local collector. This experience solidified his vision as a guitar maker.

In 1982, Humphrey dedicated a full year to researching traditional Spanish guitar-making techniques. The result was the birth of his revolutionary Millennium model, with the first prototype completed in 1985.

The Millennium model introduced a truly innovative concept: the raised fingerboard. By sloping the upper bout of the soundboard downward toward the neck heel, the fingerboard appears elevated past the 12th fret. This allowed for vastly improved playability in higher positions and enhanced the vibrational efficiency of the soundboard. Combined with its harp-like visual form, this design not only addressed traditional limitations in projection and responsiveness but also redefined the aesthetics of classical guitar.

The impact of this innovation was far-reaching, influencing many subsequent builders and meeting the high-performance demands of virtuosos like Eliot Fisk and the Assad Brothers. Alongside contemporaries like Robert Ruck and John Gilbert, Humphrey is considered one of the greatest American luthiers of the modern classical guitar movement.

Humphrey's raised fingerboard design is protected under U.S. Patent No. 4873909, and this number is typically stamped inside the heel block of his guitars.

He passed away suddenly in April 2008, leaving behind a lasting legacy that continues to influence luthiers worldwide.

[Instrument Information]

Thomas Humphrey – Millennium Model – 1995 – Used

This is a rare and early example of Thomas Humphrey’s acclaimed Millennium model, built in 1995. Together with Greg Smallman's lattice bracing and Matthias Dammann’s double-top construction, Humphrey's design helped define the standard for modern classical guitars.

Although built in the earlier phase of his career, this guitar showcases outstanding craftsmanship, exceptional acoustic balance, expressiveness, and playability—all hallmarks of a true concert-level instrument.

While its signature visual—the “harp-like” profile with a raised fingerboard (measuring approx. 2.7 cm at the 12th fret and 1.7 cm at the 20th fret)—often draws attention, the guitar’s true brilliance lies in its refined, traditional tonal character. Unlike other modern guitars that prioritize volume, uniform projection, and ultra-crisp attack, Humphrey’s sound is deeply nuanced and expressive, with a subtle elegance that appeals to refined musical sensibilities.

The voice is exceptionally well-balanced:

A rich, resonant bass with clear identity

A lyrical and articulate midrange

A slender, supple treble with a focused core

This organic balance allows the instrument to shape musical lines with natural fluidity. The guitar also exhibits a highly sensitive response, especially in the upper register, offering remarkable dynamic control and expressive potential.

Design & Bracing

The signature raised fingerboard design is achieved by sloping the upper portion of the top plate, yet the guitar does not sacrifice resonance. Instead, the reduced body depth enhances responsiveness, and the internal bracing, while rooted in Torres tradition, has been thoughtfully modernized.

This particular guitar features a customized internal bracing layout:

Upper bout: Two crossing X-braced harmonic bars above the soundhole

Lower bout: One harmonic bar below the soundhole

Fan bracing: Five fan braces placed centrally in a compact, almost parallel layout, all within the rosette’s diameter

Two closing bars: Arranged in a V-formation, receiving the ends of the fan braces

Three transverse bars: Positioned between the soundhole and bridge, directly under the saddle, and between the bridge and closing bars; these are identical in size to the fan braces and intersect them flush, forming a quasi-grid bracing pattern

Main resonance: Set between F♯ and G

Materials & Finish

Top: Fine-grained spruce with signs of natural age-related wear, including playing marks, finish rubs, and minor abrasions—all consistent with the guitar’s age and handled gracefully by the shellac finish

Back & Sides: Exquisite, quarter-sawn Brazilian rosewood (Jacarandá) with minimal signs of wear and no cracks; slight finish clouding in contact areas

Finish: Full French polish (shellac)

Neck: Slight forward relief, within standard tolerance

Frets: Minor wear, mostly in lower positions; does not affect playability

Neck profile: Slim D-shape

String height: 3.0 mm (1st string) / 4.0 mm (6th string) at 12th fret

Saddle height remaining: approx. 1.0–2.0 mm

Tuning machines: Gotoh 510 series, a preferred choice by Humphrey in his earlier years

Scale: 650 mm

Number of frets: 20

Weight: 1.59 kg