Crowfoot Model 2 Guitars

The Model 2 is an original design I initially intended as a compact, flat-top body suggesting some of the feel of a parlor guitar or old, small-bodied archtop guitar of the 30s, mashed up with funky American student electric guitars of the 50s and 60s. I found that it served as a nice, versatile platform for small-bodied electrics. As you can see below, a lot of variety is possible. This platform makes a nice "comfortable little guitar." Great for sitting back in a chair and noodling, or for leaning in a corner in the office for occasional little practice sessions, but outfitted with great pickups and hardware, it's just as capable as anything larger.
#046 M2C. One-piece poplar body with open grain satin finish. Maple on maple neck with black pearl markers. 24.562" scale, 12" radius. Gemini goldfoil pickups with A5 magnets.
#042 M2C, Monterey Cypress body, walnut neck, pau ferro fretboard, 24.562" scale. Gemini Suprocaster bridge pickup and 50s spec P90 neck pickup.
Crowfoot #036, Model 2DC. African mahogany body, Honduran mahogany neck, in transparent ultramarine nitro lacquer. Ebony fretboard, 24.75" scale, pearl dots, bone nut, 12" radius, 22 medium/medium frets. Tonepros wraparound bridge, Grover tuners, Lindy Fralin dogear A4 P90s, 1 volume, 1 tone, 3-way toggle. 7 lbs, 5 oz. total weight. Ferocious, big sound in a a compact guitar.
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Uncut Model 2 "Night Owl" for Jeff M. One piece African mahogany body, mahogany Warmoth neck with rosewood board. Single Lollar Imperial humbucker in bridge/middle position. One volume, no tone. A good, stripped down hot rod guitar.


​MODEL 2
The non-cutaway version features a 3-degree back-angled neck, 24.75" scale, floating archtop bridge, surface-mount tailpiece with removable ebony cover, and dual soapbar pickups. This one's built with a swamp ash body, black limba neck, and Macassar ebony fretboard. The flat plane headstock is of my own design, what I call a "short stack." The short stack solves a couple of traditional problems with 3+3 headstocks. First, it's cut from a slightly deeper neck blank than usual, then the tuners are brought closer to the nut than they would be on traditional tiltback headstocks. The combination of these two features means that the break angle from the nut to the farthest tuners is the same or slightly sharper than the angle from the nut to the fourth peg on a typical 6-in-line headstock. So there's sufficient down force at the nut without requiring a scarf joint, meaning the headstock is much stronger, much less likely to break. 

The pickups on this one are Lindy Fralin P90s. These are my favorite P90s by a wide margin, as the A4 magnet used by Fralin give them a much better balanced tone. It's a really great sounding guitar, and very comfortable to play. This might be my #1 guitar except that my wife claimed it as her own!

MODEL 2C
This single-cut version is built with a 1-piece figured redwood body with resin inlay in the back and side to fill "live edges," a 24.75" scale black limba neck with short stack headstock, and lacquered cherry fretboard. The tail piece is a Les Trem II tremolo, which is comparable in use to a Bigsby, but more compact. Pickups are low-wind humbuckers, A5 at the bridge, A2 at the neck, custom wound for me by Buddha Pickups. Buddha does phenomenal work for the price and he's wound several sets for me, for different guitars. 
MODEL 2C50
Inspired by some of the more fanciful creations of the 1950s, this one is built with a basswood body, 25.5" scale walnut neck with lacquered cherry fretboard and short stack headstock. 
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The pickups are arranged on two separate circuits. On the primary circuit, two Victory Lowrider gold foil pickups are controlled via one volume and one tone knob and a 3-way blade switch. On the secondary circuit (selected via the chrome toggle near the back edge), a Duncan Vintage Stack strat pickup is controlled by independent volume and tone pots. This allows a quick switch between two significantly different sounds, and also gives you an excuse to sport extra knobs and switches like every 50s guitar fan secretly wants.