Building Philosophy
Guitar building is a combination of many skills: woodworking , an eye for aesthetics, a developed ear for musical tone , and an organized and methodical approach to the work are but a few. One element at the heart of lutherie is a direct relationship between the maker and the materials. This relationship with the wood is key to making fine concert instruments. The luthier's relationship with the material can only be attained from experience while keeping an openness of mind and senses to process the information. A luthier must practice a very personalized approach to the guitar building process in order to confidently select, then sensitively work the wood to insure the results sought after. And last but not least, the key to building a fine sounding instrument is to have a sound in mind. With this sound in mind, the personal knowledge of the material, and finely tuned skills the luthier can set out on a journey to achieve his/her ultimate sound.
Having been a player has helped me immeasurably in building concert quality guitars. First, it has correctly set my purpose and focus, and that is the sound of the instrument. This is my number one priority in building an instrument. Too many luthiers today build incredibly beautiful instruments that lack good sound. The guitar must provide enough volume to reach the back seats without undue effort on the part of the player, yet possess a rich, refined tone which is balanced and full.
Secondly I am keenly aware of an instruments playability. There is nothing worse than a great sounding instrument that is difficult to play. Just as it is also important to know when some parameters have been adjusted too far and will compromise technique. A great instrument should not be a struggle to play, and should feel good in your hands.
To make a concert quality instrument it is imperative to be conscious of the demands of the concert performer and his or her setting. The instrument must have structural integrity yet be lightweight. Great attention has been paid to every detail in the design of my instruments to assure the player the greatest comfort in playing without compromising sound quality.
Aesthetics alone do not make a great instrument, but creating an instrument that sounds great, is easy too play without compromising any aspects of technique, and is visually appealing while demonstrating impeccable craftsmanship, is the ultimate trifecta. This is goal I uncompromisingly pursue with every instrument.
