I started building guitars professionally in late 2007 and have always focused on just one model -- an analogue to the Orchestra Model (OM). This model has had three very different iterations:
Fit & Finish
- OM (2004 - 2009)
- Modern OM (2009 - 2012)
- Model One (2012 - present)
The construction quality of my early work was very good. There were aspects that needed improvement but overall, I believe the guitars were noticeably better than what most high-end factory brands produce. Over the years, the build quality improved at a slow but steady rate. Many processes were modified/refined and allowed me to improve the quality of my work. In addition, the many thousands of hours of experience allowed me to hone my woodworking skills with both hand tools and power tools. It has taken me years of dedication (and a bit of OCD
) to get to this point but I can honestly say that the fit and finish of my current work is just about as good as it gets Tone
Sound is a very subjective thing and very difficult to discuss without a point of comparison. My early work sounded very good. The volume was excellent and my guitars were vibrant and responsive. They had a big, open sound and were Lowdenesque in terms of their timbre. Early on, I think my biggest struggle was obtaining a fat treble response. In late 2009, I introduced my Modern OM guitar model. Tonally speaking, this design was a radical departure from my previous work and my focus shifted to a much more articulate and balanced sound with a fatter treble response. I have since continued to seek improvements in this new tonal direction and have been incredibly pleased with the results. Design
The aesthetics of good design might seem obvious but let me assure you - it is easy to build an ugly guitar!!! I believe that I have always had a sophisticated design sense and I have a great appreciation for fine art across the various genres (Modern, Abstract, Gothic, Baroque, etc.
); however, recognizing good design and creating good design are two entirely different things. I have always tried to walk my own creative path and I credit that decision with helping me to grow as an artist. Through the myriad design iterations I've implemented over the years, I have gained an understanding of what does and doesn’t work well in the context of a guitar. In particular, proportions are incredibly important to me. Everything matters -- from the width of the binding/purfling working coherently with the rosette to the size of the rosette and the size of the bridge and saddle slot. I have strived to create a look that is minimalist and uncluttered with graceful, smooth lines for the body, headstock, and bridge. My current aesthetic goal is thoughtful coherence with the focal point being the whole guitar rather than any particular element(s) of the guitar (rosette, inlay, etc.