Building Methodology

My main influences have been John D’Angelico, Jimmy D’Aquisto, Martin and Gibson. I have tried to stay fairly traditional in my designs and feel this is what most players prefer. My main objective besides building guitars that sound good is to build instruments that will last and have pleasing designs.

I build my guitars pretty much in the traditional way. The sides are bent by hand and the liners and end blocks glued in place. The top and back are carved. F-holes cut and bound. Braces fitted and glued. The top and back are then glued to the sides and the bindings installed. The two piece neck blanks are glued together and left to sit for several months to stabilize. The truss-rod is installed and the fingerboard glued in place. The headstock is then profiled and bound. Next all the inlay work is done. The neck is then fitted and glued to the body. The guitar gets a final sanding, then the lacquer finish is applied. While the finish is curing, I make the fittings. All that’s left is final sanding and buffing of the finish and of course stringing and set-up. I usually build four to six instruments at the same time. It’s more efficient to do things this way.

Over the years I have acquired more machinery to speed up the process. In 2004 I invested in CNC technology and spent six months learning how to draw parts in a computer and program tool cutting paths with much guidance from my good friend Matthew Klein at the Gibson Custom Shop. While some may argue that using CNC machinery is not the same as totally hand crafting an instrument, the skill comes in being able to correctly program parts so that the final result is the same as if done by hand. CNC is extremely accurate and saves time. Still there is a great deal of hand work involved in the final carving of the top and back. The varying thicknesses of the top and back dictate the sound of the guitar. This critical phase cannot be done by machine. The rabbets for the bindings are cut using a router, and the bindings must be glued and trimmed by hand. Final neck shaping is also done by hand. Each instrument is set-up according to the customer’s specifications.

When dealing with a potential customer options and prices are discussed. This includes body size, over all sound, wood choices and finish color. Neck dimensions and inlays are also discussed. It is important to get as many details from the customer as possible. This way there are no misunderstandings later on. I want my customers to be totally satisfied and proud of their instruments.

What keeps me motivated? Building guitars certainly isn't the easiest profession. I often find myself working 70 hours a week, not to mention the dust and chemicals. I spent many years repairing instead of building just to pay the bills. I think many luthiers tell the same story. I guess like most other full time builders I am hooked on building guitars. I get a great sense of achievement in creating a musical instrument from scratch. The most rewarding aspect is a satisfied customer and hearing my guitars played by talented players.