Approach
Lutherie is a fascinating craft, rich in history and tradition. For me, guitar construction is a highly creative and personal experience. My approach combines what I feel are the best design and construction principles from traditional and contemporary lutherie. This open-minded approach adheres to and respects traditional sound quality and aesthetics while continually seeking to improve the capability of our instrument.
My construction methods utilize both traditional and modern techniques and tools. Traditional features such as fan-braced soundboards assembled with hot hide glue, “V”-grafted head-to-neck joints, unique, hand-inlaid rosettes, and French-polished shellac finishes are seamlessly combined with contemporary features such as carbon fiber-reinforced necks, elevated fingerboards, bridges with 12-hole tieblocks, and rigid sides incorporating multi-ply, solid linings.
After two years of development, I introduced the double top model at the 2009 GFA convention, where it received an overwhelming response. Approximately 75% of my orders are for double top instruments.
Lutherie is a fascinating craft, rich in history and tradition. For me, guitar construction is a highly creative and personal experience. My approach combines what I feel are the best design and construction principles from traditional and contemporary lutherie. This open-minded approach adheres to and respects traditional sound quality and aesthetics while continually seeking to improve the capability of our instrument.
My construction methods utilize both traditional and modern techniques and tools. Traditional features such as fan-braced soundboards assembled with hot hide glue, “V”-grafted head-to-neck joints, unique, hand-inlaid rosettes, and French-polished shellac finishes are seamlessly combined with contemporary features such as carbon fiber-reinforced necks, elevated fingerboards, bridges with 12-hole tieblocks, and rigid sides incorporating multi-ply, solid linings.
After two years of development, I introduced the double top model at the 2009 GFA convention, where it received an overwhelming response. Approximately 75% of my orders are for double top instruments.
| • | Highest quality materials in a variety of wood species for a spectrum of tonal and visual possibilities |
| • | Traditionally-braced soundboards, individually voiced for optimal response. |
| • | Choice of scale length, neck width, depth, and profile |
| • | Compensated bone saddles and nuts for excellent intonation |
| • | 12-hole tieblocks on classicals for consistent break angle and easy string installation |
| • | Carbon fiber-reinforced necks for maximum stability and transmission of string energy |
| • | Optional elevated fingerboards for easy access to higher positions |
| • | French-polished shellac finish for superior sound and visual brilliance |
Features
| • | Optional double top soundboards available in a variety of spruce and cedar combinations |
| • | Optional adjustable-action neck |