Goals

My goal with each guitar is to produce a world class instrument: something that will inspire your playing and constantly draw you into unraveling it's mysteries. To me, a fine instrument is an organic thing that you will relate to personally. It will draw you in and reward you every time you pick it up.

Every builder has ideas about what makes a great guitar and I am no exception. I do feel fortunate to have been involved in building many incredible instruments and that has greatly informed my thinking. There is no one thing, but a complex relationship of things that needs to happen to be successful.

Workmanship

You will immediately notice an incredibly high level of detail and craftsmanship present in each instrument. I am uncompromising in my approach at every step along the way. From selecting raw material in log form, to creating custom hardware, to the final buffing and polishing, and even the manner of presentation - no effort is spared in building your instrument.

These guitars are significantly more demanding to build than a typical flat-top guitar. Features like the scroll headstock, staggered and mortised tuners, special hardware, veneered and inlaid neck and heel, cantilevered fingerboard and extensive inlay make them time-consuming and complex to build. I think it's worth the extra effort, and I hope you'll agree.

Traditional and Modern

Traditional and modern techniques are employed. I have studied the traditional methods and have a deep respect for the builders who came before me and the methods they employed. I enjoy fitting the dovetailed neck joint and original "V" headstock joint. Hot hide glue is used extensively.

Hand (edge) tools are used for their speed and accuracy, and the tactile pleasure and feedback they provide. Some of my favorite tools are the ones that I have made - handplanes designed for a specific task, custom fit to my hands.

Since I build in the 21st Century, I also use power tools to speed operations, vacuum clamping for superior glue joints, structural epoxy when required, carbon fiber for neck reinforcement and other modern miracles.

Wood

I can think of no better way to utilize and showcase a fine piece of wood than on a musical instrument. I have a huge collection of tonewoods and really enjoy processing and resawing my own wood - it's an extra level of control that few builders take the time to do.

I use old growth, hand split Adirondack Red Spruce and other premium top woods, the finest maples and rosewoods and pattern grade mahogany. From the demure to the most wildly figured wood imaginable, I personally select and produce each part of the instrument.

Hardware

A major challenge with these guitars is approximating the complex Viennese tuners. Commercially unavailable, the options are limited. The route I chose was to design a set that would complement the instruments aesthetically, perform flawlessly, and provide proper geometry in terms of string placement and headstock strength.

To accomplish this, I collaborated with Larry McMaster, a very skilled machinist. We started with high quality Waverlies and made heavy modifications. The string posts were shortened and reshaped, the worm gear shafts were cut and extended, the bases were altered and welded into a single solid plate. Reassembled and covered with a custom brass plate, the results are excellent - and unique.