I live with my family in Spokane, in the eastern part of Washington State.
This all started with my first woodworking project at the age of 7. Since then I’ve had a strong connection to wood, and the lessons I’ve learned still resonate, guiding me in many facets of guitar building and design.
I first started working on stringed instruments in the mid 1970s, doing repairs and rebuilding derelict instruments, and selling them to get through school. Those old icons of the American stringed instrument tradition revealed hidden secrets when their backs and tops were removed, either from damage or for repairs. They taught me what works and—maybe more importantly— what doesn’t. In 2005, I returned to instrument work and started building guitars.
I take a conservative approach to structural considerations. While the sound I strive for comes in large part from light construction, I believe that with the proper care, a light guitar can be built with structural integrity, ensuring a long life. The guitars I build are resonant and responsive.
I sweat the small stuff, because when it comes to tonal quality and efficiency, the smallest details, when taken together, can have a big impact on the final outcome. Stringed instruments by their nature are not very efficient, so paying attention to small details that contribute to efficiency can yield huge returns in a guitar that responds to the player. When you play one, it feels and sounds alive, eager to make music.