These instruments are very comfortable to play. With smaller bodies, shorter scale lengths (lower string tension) and low action they reward the player with a wide dynamic range and a suprising amount of volume.

The fast attack and instant response makes them the guitar equivalent of a small, high performance sports car. Think Lotus Elise, not Escalade. The body dimensions are based on early Martin guitars, but the internal bracing and construction is throroughly modern.

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.

I have spent a great deal of time studying the traditional methods and have a deep respect for the builders who came before me and the techniques they employed. For instance, I really enjoy fitting the dovetailed neck joint and original "V" headstock joint. Very high gram strength hot hide glue is also 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.

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.

A major challenge with these guitars is recreating the complex Viennese tuners. 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 local machinist. We started with high quality Waverlys and made several 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.