Straight from Merle's mouth - I was just reading this the other day:
AN INTERVIEW WITH MERLE TRAVIS (excerpt)
WITH MARK HUMPHREY JUNE 21, 1979
I wanted to ask you about that beautiful Guild hanging on the wall. I’ve wondered about that since I saw it on the cover of the album, “The Best of Merle Travis.” Is that another one you designed?
Yeah. I was playing that solid-body for awhile, and the Gibson company asked me, “What could we do to get you to go back to playing a Gibson?” Of course I’d started out playing a Gibson as soon as I had enough money to get one. I said, “if you’ll build me a Super-400 the way I design it, I’ll play it.” They said, “We’ll do it.” So I drew a picture of a Super-400, I put a star up here, I put my name on the neck, I dolled it up, and said, “The Gibson, Special.” So they built it for me, and it’s worked pretty well. I’ve got 2 or 3 of these things. The same story with Guild. They said, “What can we get you to do to play a Gretsch? (must mean Guild here - RL) ” I said, “I’ll do it if you’ll build one exactly as I draw it.” I had some ideas, and it’s not bad. I said, “I want you to carve the top out of a one inch piece of wood, but leave the inside uncarved. Leave it flat inside.” So that guitar is arched on top but it’s an inch thick under the bridge. And the back, too. I drew the whole thing — the red checkers around, I got that idea from a guitar Gene Autry used in pictures years ago. The sound hole is copied from an old-time Gibson — the oval sound hole. And I designed that top up there, the curlicue.
And you designed the armrest and the pickguard also.
Yeah, I thought it made it look better.
Why such thick wood?
For sustain. I wanted it to sound like a solid-body but look otherwise. The reason I don’t use it more is because the neck was a little too broad, and I took it to a friend and said, “Make the neck a little smaller.” And he cut it down to where it’s like a ukulele neck. (laughs)
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So I guess if you find the Guild Merle Travis with the ukelele neck - you have THE ONE!