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. 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 the American 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 some money. The guitar was a success, though saving money was not. That guitar opened up a new world of wood and sound for me. I haven't stopped.
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.
Stringed instruments by their nature are inefficient, so I sweat the small stuff, paying close attention to the smallest details that increase efficiency, which together make for huge returns in a guitar that responds to the player.
My customers like the responsiveness and resonance in my guitars. The guitars feel and sound alive, eager to make music. But beneath the outer layers of woods and finish, my foremost guide is integrity, that it would manifest in an instrument that's well-integrated in its beauty, ease of playing and availability of tonal colors.