My philosophy centers on pushing the boundaries of traditional guitar design.
My work explores innovative techniques and alternative approaches, resulting in instruments that offer a unique sonic character and aesthetic appeal.
My guitars are a testament to the evolving possibilities within lutherie.
Featuring insights into how I built them
OM with a Western Redcedar, Red Spruce double-X-braced soundboard, Indian Rosewood back and sides, truss rod, 14-fret, 24.9 scale, 1.75 nut, pinned bridge.
17" jumbo with a Redwood soundboard and Walnut back and sides. X-braced with Indian Rosewood and Red Spruce laminate. Arm bevel, D-Tube neck, 14-fret, 25.5 scale, 1.75 nut, pinless bridge.
Bearclaw Sitka soundboard, Indian Rosewood back and sides, shoulder port, fountain braced, arm bevel, open headstock, D-Tube neck, elevated fretboard, pinless bridge, zero fret and more.
16" body, Sitka soundboard with Curly Maple back and sides, mitre braced, shoulder port, "curve-away", D-Tube adjustable neck, elevated fretboard, pinless bridge, 25.5 scale, 14-fret, 1.75 nut.
16" body, Bearclaw Sitka soundboard with Myrtle back and sides, carbon fiber and Spruce laminated bracing, cutaway, D-Tube neck, 25.5 scale, 14-fret, 1.75 nut.
Dreadnought body, Torrefied Sitka soundboard, East Indian Rosewood back and sides, arm bevel, D-Tube swappable neck, pinless bridge, fan bracing, TurboTail, 25.5 scale, 14-fret, 1.75 nut.
Gain insight and benefit from my experiences
This article is being written and edited in real time, as I embark on a journey to not just fix and return to playability this 1972 Martin D-18, but to improve it. My goal is to coax as much sound from this guitar as I can. I wish to make use of the original components as much as possible, only replacing what I deem absolutely necessary.
This hollow carbon fiber truss rod alternative has been specifically designed to stabilize instrument necks with its unique profile. The D-Tube Neck Beam™ significantly increases bending and torsional stiffness and weighs less than the wood it replaces.
A hard look at the significant force applied to four components of the acoustic guitar, the issues that arise as a result, and thoughts on what to do about it.