My goal in guitar making is to achieve a lovely aesthetic, an extremely high level of craftsmanship, and a beautiful quality of sound, with ample loudness and projection, good sustain and a comfortable action and feel. I do not ever "cut corners" concerning the construction process of guitar making.

Each and every step in the process is carried out by me personally. I approach my daily work with great focus and passion.

I love making guitars at an extremely high level. It is very demanding work, but also extremely rewarding upon completion of each instrument.


I have been building fine concert classical guitars since 1991. In that time, I have had much success and very few failures. I've had lots of help along the way, and would like to acknowledge the following makers for their contributions to my knowledge base.

Jose Matta was my first "teacher" and has become a good friend as well. Jose is a retired engineer, who fell in love with the classical guitar at an early age, and started making fine guitars some twenty years ago. Also, I would like to acknowledge Robert Ruck, for his tremendous help in the early and continuing years. Finally, I received some critical knowledge from Jeffrey Elliott, Cynthia Burton, Augustino LoPrinzi, Elman Concepcion and Ervin Somogyi, to all of whom I am deeply grateful. A special thanks to my dear friend Gene Duncan, who has encouraged me from the beginning and continues to uplift my spirit daily. Without his friendship I would be lost.

I was very fortunate to meet the legendary classical guitar maker, Manuel Velazquez, in 1992. It is through his teachings and encouragement that I have become a guitar maker. Maestro Velazquez has shown me, through his own instruments, what qualities a great guitar should possess.

With maestro Velazquez' teachings always in mind, I go about my daily work, attempting to build world class instruments, in the style of Torres, Hauser, and Santos Hernandez. The work that I do is not easy, and that's what I like about it.

I am continually challenging myself in the difficult work that I do, never being satisfied with my past accomplishments, but always looking towards the future, and what new challenges might lie ahead. I never build the exact same guitar twice, trying continually to improve my work based on past experiences. Each guitar is an entity in itself, entirely unique, one of a kind. Working in this manner gives me much freedom to make changes as I see fit. I usually let the wood lead me in the right direction.

I have studied many fine guitars from past and present makers, and this has become my main avenue of education. I'm continually surrounded by the guitar! Each night I go to bed dreaming of the next days accomplishments and what might be possible.

Engulfed in my work each new day, I appreciate every minute spent at the workbench, surrounded by many precious woods. I am forever grateful to my beautiful wife, Teresa, for letting me share my love for this wonderful instrument with the rest of the world.