Full-View Gallery
Images with the full guitar in view.
Soundboard Gallery
Tonal criteria aside, I also place great emphasis on obtaining soundboards with little to no run-out. Noticeable grain run-out causes each half of the soundboard to reflect light differently resulting in one half appearing darker or lighter than the other. Fine grained spruce like Engelmann and German are especially prone to having run-out. I work with a wide variety of tops including Sinker Redwood, Caucasian Spruce, Swiss Spruce, and Carpathian Spruce.
Back and Sides Gallery
I use both traditional and non-traditional woods for back/sides. There are a wide array of exotic hardwoods that make phenomenal sounding instruments. Many of these exotic woods can behave badly during the bending process; however, because I use “double sides” I am able to bend these woods at a lesser thickness and couple them to Honduran Mahogany, which is exceptionally stable and crack resistant. Therefore, using double sides allows me to build with tonewoods that would otherwise be problematic.
Headstock Gallery
I will typically use a 2-veneer combination for the headstock. Normally, the top layer is cut from the same tonewood as the back/sides and the bottom layer cut from the same wood as the binding. The edges of the headstock are distinctly beveled.
Rosette Gallery
My standard rosette is a wood ring surrounded on the inside and outside by 3 purfling lines -- duplicating the wood combination found in the body binding/purlfing. At the moment, I am experimenting with a number of new designs and will update this gallery when these designs are complete.
Miscellaneous Gallery
A collection of photographs to provide a more complete view of my instruments.
Images with the full guitar in view.
Soundboard Gallery
Tonal criteria aside, I also place great emphasis on obtaining soundboards with little to no run-out. Noticeable grain run-out causes each half of the soundboard to reflect light differently resulting in one half appearing darker or lighter than the other. Fine grained spruce like Engelmann and German are especially prone to having run-out. I work with a wide variety of tops including Sinker Redwood, Caucasian Spruce, Swiss Spruce, and Carpathian Spruce.
Back and Sides Gallery
I use both traditional and non-traditional woods for back/sides. There are a wide array of exotic hardwoods that make phenomenal sounding instruments. Many of these exotic woods can behave badly during the bending process; however, because I use “double sides” I am able to bend these woods at a lesser thickness and couple them to Honduran Mahogany, which is exceptionally stable and crack resistant. Therefore, using double sides allows me to build with tonewoods that would otherwise be problematic.
Headstock Gallery
I will typically use a 2-veneer combination for the headstock. Normally, the top layer is cut from the same tonewood as the back/sides and the bottom layer cut from the same wood as the binding. The edges of the headstock are distinctly beveled.
Rosette Gallery
My standard rosette is a wood ring surrounded on the inside and outside by 3 purfling lines -- duplicating the wood combination found in the body binding/purlfing. At the moment, I am experimenting with a number of new designs and will update this gallery when these designs are complete.
Miscellaneous Gallery
A collection of photographs to provide a more complete view of my instruments.
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