"Art is where the head, heart and hand come together."


Throughout my life, I've been involved with the arts and have had a love for music. As a child, my father would pick me up from school in a gray, two-door Datsun playing recordings by Julian Bream, John Williams, Segovia and the Beatles. I believe these old recordings encouraged me to learn to play the guitar and have influenced the sound I want to hear from my instruments.


Shaping each guitar by hand, I use traditional techniques/method of construction practiced by the great luthiers of the past and present. I draw inspiration from Antonio de Torres, Hermann Hauser, Ignacio Fleta, and Daniel Friederich , while relying on my own beliefs and vision. There are a number of factors which contribute to producing a fine instrument. I pay great attention to calibrating the soundboard for a liveliness and sensitivity when the strings are lightly plucked. When I push or dig in to the strings, I want the quality of sound to have a presence and body that projects, rather than a percussive quality that can fall apart. It's my belief that the quality of the note gives a strong impression of a well made instrument. When selecting woods, graduating the soundboard, back, or shaping braces, my focus is on producing a desired stiffness and weight rather than a target measurement.


Having grown up studying the guitar, I understand the importance of not only having a great sounding instrument, but also achieving a high level of comfort for playability. The neck shape, string spacing, action, scale length, tension of the strings and how well the soundboard responds, all contribute to the feel for the left and right hand.


I finish the instruments with a spirit varnish made from shellac and alcohol.

Shellac is not as durable as lacquer or an alkyd varnish, but I appreciate the way it allows the soundboard to breathe and the luster it provides. In addition to shellac, I use a drying oil for the bridge and peg head. With an exception of a couple areas, my guitars are built entirely with animal hide glue in a 40% to 50% controlled humidity environment.


Guided by meticulous planning and the passion I have for the art, I rely upon my internal compass, eyes and hands to guide me through the process. With this approach, I’ve enjoyed a personal relationship with my work, resulting in a truly unique instrument. Using the finest hand-selected woods that I can find, I strive to make a guitar not only fit for a museum, but more importantly, one which meets the needs of a concert-level performer.


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