The Applecreek

The Applecreek $8,800

Incorporating new innovations such as a freer braced top and Dragon Skin purfling, which can be shipped anywhere in the world without permit, The Applecreek is the foundation of the Petros Guitar line.

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The Walnut Creekstarting at $9,800

Formerly, the Ultra-Light, the Walnut Creek is a wonderfully light guitar with a thunderous sound. Made from curly Claro Walnut, master grade Redwood, and a butternut neck, this guitar will growl or sing softly.

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The Deluxe starting at $12,000

Deluxe Edition guitars feature your choice of woods, bound finger board, engraved buttons, pins, and truss rod cover, and various FB inlays specific to the model.

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Body Styles

Petros Guitar’s body sizes play an important role in meeting your needs. The choice depends on your playing style. The smaller body Parlor and FS are most popular for the more subtle, finger style player. The Dreadnought and Jumbo are for the more aggressive, rhythmic style player. The popular Grand Concert is a great in between choice.

The Baroque Parlor Guitar

Our new parlor guitars were designed from scratch, from top to bottom. She’s baroque on the outside, but ultra modern on the inside. Our new bridge is much smaller and lighter and in keeping with the style of the baroque era but has all the innovative features that only Petros Guitars uses like the 10 degree back angle. Lighter bracing and profound top graduation to compliment the short scale makes this guitar sing with plenty of bass fundamental for an unsurpassed playing experience. Prepare to be surprised. The Parlor body dimensions:
18 1/4” long
12 5/8” lower bout
7 3/8” waist
9 3/8” upper bout
4” deep
24 1/2” scale
Nut width of your choice


The New FS

The New Petros FS (Finger Style) guitar has been redesigned to include a larger lower bout and an ingenious top bracing system. The new FS bracing system frees the top to move as never before, evoking better projection and improved volume. The FS is available in short scale and long scale in either a 12 or 14 fret configuration. The FS body dimensions:
19″ Long
15″ Lower bout
8 5/8″ Waist
10 1/2″ Upper bout
4″ deep
25.5″ or 24.5″ scale


The Finger Style 12 Fret

The traditionalists’ Fingerstyle guitar with an eerie clarity that will inspire you in standard or alternate tunings, dimensionally equivalent to a classical guitar with some added depth. A classic design with 30 years of additional Petros tweaking. The 12 fret configuration which places the bridge in the center of the lower bout imparts a round, full fundamental reminiscent of a classical guitar. Balance and sensitivity and clarity prevail. Available with a standard paddle head as well. The FS 12 fret body dimensions:
19″ Long
14 5/8″ Lower bout
9 1/2″ Waist
11 1/8″ Upper bout
4 1/4″ at the deepest
25.5” scale


The Grand Concert

Anyone looking for a guitar that will do both fingerstyle and flatpicking, and do it well? After numerous requests for just such an instrument Petros Guitars decided that after 30 years of perfecting just two models, perhaps there was a legitimate need for a third model. The Petros Grand Concert: A guitar that does it all… with a sensuous and riveting sound that will awe you in standard tuning and melt you in alternate tunings. Dimensionally between the FS and D, it is sensitive enough to use light gauge strings and sturdy enough for mediums. The GC body dimensions:
19 1/2″ Long
15 1/2″ Lower bout
9 5/8″ Waist
11 3/8″ Upper bout
4 1/2″ at the deepest
25.5” scale


The Dreadnought

The Petros Dreadnought Guitar: For the discriminating flat picker, strummer, singer – songwriter… anyone who wants a guitar with power, depth and clarity. Dimensionally equivalent to most other dreadnoughts but with a narrower waist so it sits easier on your knee. Petros D’s are specifically designed for medium gauge strings and meant for power. They are amazingly loud and have a wonderful, rich, full bass, crystal clear mids and singing trebles. They won’t “clip” when you push them yet they have the subtlety and nuance of a fine classical. The D body dimensions:
20″ Long
16″ Lower bout
10″ Waist
11 1/2″ Upper bout
4 3/4″ at the deepest
25.5” scale


The Jumbo

The Jumbo is a large bodied instrument that is generally strung up with medium gauge strings and is meant to be used for more aggressive power playing. It is also well suited for fingerstyle playing if you don’t mind the larger body size. The scale length is 25 1/2” Jumbo body dimensions:
20 1/2” long
16 5/8” lower bout
10” waist
11 1/2” upper bout
4 1/2” at the deepest


The Baritone

A large bodied, low tuned instrument with a sonorous sound reminiscent of a cello. This instrument will open new creative pathways for you as it brings a whole new tonal soundscape to your fingers. My favorite wood combination for this instrument is Walnut and Redwood, but whatever wood combination you can dream of will be fine. 28 5/8” Scale length Generally tuned B to B with a .070 gauge string for the low B. Baritone body dimensions:
20 1/2” long
16 5/8” lower bout
10” waist
11 1/2” upper bout
4 1/2 at the deepest


These are some of the features that distinguish Petros Guitars from other guitar makers. Some of these features require much more time and effort in the manufacturing process and have been eliminated from guitars manufactured by large guitar companies. Petros guitars makes only a limited number of guitars and is committed to making the best guitars possible.

Top Arch

The Pre-stressed arched top is responsible for the ringing, sustaining trebles as well as increased stability. The braces are shaped to a 30 foot radius and glued to the top that is placed on a concave work board in a vacuum press. Flexing a saw blade raises its pitch. This is the same principal with our tops. The fundamental trebles sing clearly as well as the enhanced set of overtones. You get the full potential of each string. Increased stability is another benefit of the arched top. Being pushed up with the arched braces prevents the top from going up any further. This arch also works just like a car bridge and resists going down. Flat tops have the latitude to go up and down with temperature and humidity changes. This arch is also designed to allow the fret board to go up that ramp at the body. No drop-off fret boards as seen on many flat tops.

Top Graduation and Bracing

The Graduated top makes for more bass. Petros Guitars meticulously thin the top around the edge which acts just like the soft surround on a speaker. This enables the top to move more easily as a whole creating big basses. Symmetrical bracing makes for equal stress on the top. The bass strings don’t have less tension on them to lower the pitch… they just add more mass with the windings. The tension on each string is quite equal. Making one side of the top looser and the other tighter for bass and treble production is counterproductive. We believe asymmetric bracing creates undue tension and this is what we try to eliminate so the top is freer to vibrate. We see the guitar top as a speaker. Speakers are always symmetrical and produce a wide range of tones.

Bridge Plate

The bridge plate system is another unique feature of Petros guitars. Here is another place where tone, structure and stress are accounted for in a new way. Although the bridge is also a brace, the top can use some additional support for all that string tension at that location. We also need something hard to withstand wear from the ball ends of the strings. Most guitars use a great big Rosewood or Maple plate to do both things. We believe this is too much hardwood for this sensitive tonal area. Petros Guitars, unlike anyone else, uses a tonal and strength appropriate spruce support at a transitional 45 degree angle. Then we add a small ebony pin plate to support the ball ends of the strings. Ebony is much harder than either Rosewood or maple. The Petros system has less mass and more strength while using spruce’s great tonal characteristics.

Neck Construction

Neck construction is a very important feature. Petros necks are constructed with two pieces of end to end flip matched high quality Honduras Mahogany. If a board had an inclination to warp in a certain direction, then the technique that Petros Guitars uses counteracts that tendency. In addition, it creates a very classy look at the heel.

Petros Guitars laminates a decorative and functional veneer between the neck and the fret board. That says it all; it is decorative, and it is a real lamination that creates strength and stability.

Real dovetailed neck joints are becoming a thing of the past for reasons of manufacturing convenience for many factories as well as numerous small builders. Not for Petros Guitars. We believe the integrity of this joint is one more piece of the sound puzzle and won’t eliminate it.

The fingerboard edges taper rather than being perpendicular to the face. This enables us to take almost 5% more wood off the neck . This feature allows lots of room on top without the feeling of a clubby neck. Less fatigue, better articulation.

Nut Width

The standard nut width is 1 13/16″ with plenty of room on the treble side for the high E string. A common error is to have the E string too close to the edge. In conjunction with our slender neck you won’t notice it’s a wider fret board until you realize you are hearing notes you haven’t heard before! Greater string spacing, slender neck, no more muting out notes with those fat little fingers. Top quality bone is the standard nut material for Petros Guitars.


The backward tilt bridge and saddle are a feature unique to Petros Guitars. In addition, the break angle of the strings is equalized which puts less stress on the saddle and bridge. Look at many standard straight up and down saddles and notice how they are now leaning forward. This forward stress can actually break the front of the bridge right off and not only is there undue stress but the intonation is now worse than originally designed. Although string tension is stress, the more you can accommodate it the better. The extra width of the Petros fully compensated saddle is also a great stabilizing factor.


A fully compensated saddle is an absolute must for virtually perfect intonation. This is not only essential for standard tuning but a perfect boon for alternate tunings. A quick explanation of the need for compensation: Although the 12th fret is theoretically halfway between the nut and the saddle, you are stretching the string when you press it to the fret. This makes the note go sharp. This problem is “compensated” for by moving the saddle back to bring the note back in tune with the harmonic. The amounts the notes go sharp are exacerbated by several factors.

1. The diameter (or gauge) of the string. The bigger the string, the more it goes sharp. Exception: the windings on wound strings don’t count. It is the core of the string that stretches. Therefore the B string is actually bigger than the G string and therefore goes sharper. That is why you see the B string compensation being further back than the G string.

2. The tension of the string. Longer scale lengths need more tension to bring a string up to pitch. The more tension on a string the less it goes sharp with additional stretching. Strings with less tension go sharper proportionally with additional stretching. Short scale length guitars need less tension to bring the strings to pitch. These need much more compensation and are more troublesome. Any scale length when tuned down (the normal direction for alternate tunings) require more compensation because of the lessened tension.

3. The height of the string. The higher the string the more it stretches as you are pushing it to the fret, therefore, the sharper it goes. This is another good reason for a great set-up. Petros backward tilted bridges and saddles compensate for this unlike any other guitar. As you raise the action (if you like higher action) the saddle actually goes back as well as up thus compensating more for the higher action. Petros compensated saddles are actually strobed a couple cents flat on the bench at standard string height and tuning. At the bench one can push the string to the fret very carefully. In the real world, players stretch the strings more than on the bench in a controlled manner. This extra “flattening” additionally compensates for alternate tunings. Uncompensated saddles take none of this into account and will never let you play in tune. Top quality bone is the standard saddle material for Petros Guitars.