To make classical guitars with a clear and clean treble and rich bass is my passion! I start with carefully selected woods from all over the world. My climate contralled shop insures that all guitars built here are stable and will give many years of enjoyment without stress related ailments.

My goal is to help players get the guitar that is just right for their playing style or physical needs.

In 1977 I attended the Guitar Research & Design in South Strafford Vermont ran by Charles Fox and George Morris, the two most famous guitarmaking teachers. I've played guitar since the age of 15 and have been making and repairing for 30 years.

All of my classical guitars are built with a Spanish foot making a solid connection between neck and body. With years of experience repairing and building, I have gained an insight as how to make great sounding guitars.

Careful attention is paid to the thickness of all parts. Each top is selected to pair up with a back & side combination so as to make a perfect match.

All necks receive a non-adjustable epoxy-graphite rod to keep the neck straight and to help transfer vibrations to the top. This makes the top work to its full potential.

I make a fan braced top and a lattice brace top! The fan brace top has a traditional rich, earthy, tone! The lattice which is all wood (no epoxy-graphite) has a bright, loud, and very clear tone. I make guitars with very good note to note balance and separation.

Each guitar is assembled in the traditional Spanish way: top down on a solera workboard. All wood trimmings are used and are made in my shop. The fingerboard of choice is Ebony; with a Rosewood option. A 2mm pearl dot at the 5th & 7th fret on the side of the fingerboard is standard. (This can be eliminated at the players request) A 17th fret dat (A note) is also available.

All bridges are a light in weight Rosewood and receive 12 or my new 18 hole bridge to anchor the strings, this helps to put a good break-over angle on the saddle and to lessen the chance for a string ding in the top. The 18hole bridge has no strings looped across the top of the tie block ;this gives a nice clean look to it. Plus the string angle is still well preserved. I leave a small lip at the back of the bridge for the excess string to rest on. I use a bone 3mm saddle that is shaped to make sure that the guitars intonation is the best it can be.

All backs are arched to a 30' radius. All tops receive a 30' radius to help with strength, and allow me to fine tune the tone with careful graduations of the top and braces! This doming also helps when a top or back is subjected to a low humidity climate for an extended period of time by allowing the plate to contract without cracking. The bridge is carefully contoured to fit this radius.

Fingerboards are given a slight radius to the 9th fret to help with barring. This radius is carefully extended into a compound radius for the rest of the board.

Neck widths at nut from 50mm to 55mm, 12 fret 59mm to 65mm are available. With a 52mm nut being the usual size. Standard scale length is 650mm; with 660 and 644 also available. E to E bridge spacing is 57mm.