I live with my family in Spokane, in the eastern part of Washington State.
This all started with my first woodworking project in the 1950s at the age of 7. I first started working on stringed instruments in the mid 1970s, doing repairs and rebuilding derelicts and selling them to get through school. The secrets held by those old icons of stringed instrument tradition were revealed when their backs and tops were removed, either from damage or for repairs. They taught me what works and—more importantly— what doesn’t. Around 1980, I took a long hiatus from stringed instruments for a career in mechanical design and to raise a family. Later, in 2005, I decided to build myself a guitar, thinking I could save money. The guitar was a success, though saving money was not, but that guitar opened up a new world of wood and sound for me. I haven't stopped since.
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 that is structurally sound, ensuring a long life. I sweat the small stuff, paying close attention to the smallest details which together make for huge returns in a guitar that responds to the player. My blog might provide further insights on my thoughts about this craft.
My customers like the responsiveness and resonance in my guitars. The guitars feel and sound alive, eager to make music. "Fun to play," as one player put it. But beneath the outer layers of woods and finish, my foremost guide is integrity, that it manifest in an instrument that's well-integrated in its beauty, ease of playing and availability of tonal colors.