"The process starts most importantly with wood selection. I'm a wood dork through and through. I spent three years working at Gilmer Wood Company in Portland OR and had the opportunity to handle and machine dozens and dozens of species of wood to learn their different characteristics and how to select for various grades of instrument wood based on weight, texture, grain, and resonance. Not all boards are equal. I also had the opportunity to build a collection of truly amazing tone wood over those three years that is now wonderfully well seasoned. 

 

The next part of the process is to use nothing but top quality components and meticulous craftsmanship to allow the instrument to be as good as possible. All of my components are selected, fit, and finished with concern for the instrument's over all tone and playability. 

 

My instrument design aesthetic comes from the guitars of the 1950s and 1960s with subtitle and not so subtitle nods to different guitars of the time as well as the same industrial design inspirations that informed those golden age instruments. My goal is to make an instrument that has a bit of a timeless quality. I want an instrument that looks like it could have been made and designed in the 1950s or is an instrument in production today. 

 

The last component is the set up, feel, and playability of the instrument. How the player is able to interact and connect with the instrument is the most vital aspect. That all comes down to the set up. I spent a considerable amount of time playing and tweaking each instrument until it reaches its potential."