Standard Features
Keith Robson Tuners
Robson tuners are handmade in England by Keith Robson and are of the finest quality. I prefer open-back tuners because they are lightweight and enclosed tuners will often make a lightly built instrument feel headstock heavy. The difference between Robson and Waverly is quite noticeable with the Robson tuning machines being both cosmetically and functionally superior. The tuning is effortless and the quality and machining of the various components yields a work of functional art.
EVO Gold Fretwire
This fretwire is quickly gaining popularity due to its beauty and excellent wear properties. Even aggressive-handed players who wear out normal wire within a couple years can expect many years of use before the first signs of wear. It is quite possible that players who grip the fretboard normally may never need a refret.
Double Sides
I build with double sides as in the tradition of concert quality classical guitars. Not only are there significant structural advantages to double sides (resistance to cracks and neck resets) but I believe there is potential for tonal improvement as well. The theory is that stiffness and rigidity help prevent the sides from wasting valuable vibrational energy and improve both volume and projection. To this end, reversed kerfing is used over traditional triangular kerfing.
Please Note: Double sides are not a cost cutting measure and should not be confused with the low-quality laminates found in entry-level guitars. On the contrary, double sides add more labor and expense to the build process.
Stainless Steel Truss-Rod and Carbon Fiber Neck Reinforcement
I use a micro-adjustable, dual-action truss-rod made of stainless steel. This is a remarkably effective design that provides excellent control over the neck relief. I also run two carbon fiber graphite beams thru the entire length of the neck (including the headstock). This yields a phenomenally strong and stable neck which is a big benefit to players who play in more than one tuning.
Innovative Bracing Design
I aim to build guitars that are vibrant, loud, and responsive -- producing a full, open tone with exceptional balance and clarity. In this effort, I have created a bracing design that allows the soundboard to remain very flexible but still have significant strength in key locations. For specific regions of the soundboard, I have adopted the use of a bracing innovation by classical guitar builders John and William Gilbert called T-Bracing. It is a slight departure from a traditional brace in that it looks like an upside-down letter “T”. In practical terms, T-Bracing allows me to achieve a very strong, lightweight brace with a wide footprint for gluing.
Polyester Finish
There are a number of excellent finishes for the acoustic guitar. I have experimented with almost every finish type and my favorite by far is Polyester. The key advantage of Polyester finish is that it can be applied as a very thin film and still offer wonderful protection. Furthermore, the finish is highly resistant to a wide-array of solvents and does not degrade over time like Lacquer. Polyester is also very resistant to checking and damage due to rapid changes in temperature or humidity. Polyester is the finish of choice for most high-end factory and boutique built instruments (Taylor, Larrivee, and Collings). There are also a number of innovative luthiers that have made the move to a Polyester finish (Ryan, Olson, etc).
Ameritage Cases
All my guitars ship with a custom fit Ameritage case and its patented Humidity Control System. I continue to be very impressed with the quality of these cases. They look beautiful and are built to very high standards --- without a doubt, one of the nicer cases on the market. I also include a Caliber III hygrometer than I calibrate here at my shop to ensure your humidity readings are accurate. Please note that Calton Cases are an available option.
Premium Materials and Workmanship
I am a dedicated perfectionist and it has been my driving passion to build guitars at the very highest level. I pay considerable attention to the quality of my materials and have developed trusted sources in the industry that I can rely upon for premium tonewoods. Every pre-caution is taken to ensure that all raw materials are fully seasoned and inspected before use. I always maintain a constant 45% (industry standard) relative humidity in my shop and wood storage area. In my opinion, great customer service starts with a world-class guitar. I recognize the expense of purchasing one of my instruments and it is my commitment to the customer that their guitar will represent the very best I am capable of.