Headstock Gallery
I will typically use a 3-veneer combination for the headstock. The top and bottom layers are cut from the same tonewood as the back/sides and the middle layer is intended to match the binding/purfling. While sometimes difficult to capture in a photograph, the edges of the headstock are beveled.
Rosette Gallery
My standard rosette is a wood ring surrounded on the inside and outside by 3 purfling lines -- the same thickness and wood combination as the body binding/purlfing. I also offer a “wood tile” rosette that has a nice classical vibe to it.
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 a light side and a dark side. The fine grained tops 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 and fracture easily or form ripples and uneven surfaces. However, because I use “double sides” I am able to bend these woods at a thinner thickness and also laminate them to an interior wood (like Mahogany, Limba, or Spanish Cedar) that is exceptionally stable and crack resistant. Therefore, using double sides allows me to build with tonewoods that would otherwise be a woodworking nightmare.
Miscellaneous Gallery
A collection of photographs to provide a more complete view of my instruments.
I will typically use a 3-veneer combination for the headstock. The top and bottom layers are cut from the same tonewood as the back/sides and the middle layer is intended to match the binding/purfling. While sometimes difficult to capture in a photograph, the edges of the headstock are beveled.
Rosette Gallery
My standard rosette is a wood ring surrounded on the inside and outside by 3 purfling lines -- the same thickness and wood combination as the body binding/purlfing. I also offer a “wood tile” rosette that has a nice classical vibe to it.
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 a light side and a dark side. The fine grained tops 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 and fracture easily or form ripples and uneven surfaces. However, because I use “double sides” I am able to bend these woods at a thinner thickness and also laminate them to an interior wood (like Mahogany, Limba, or Spanish Cedar) that is exceptionally stable and crack resistant. Therefore, using double sides allows me to build with tonewoods that would otherwise be a woodworking nightmare.
Miscellaneous Gallery
A collection of photographs to provide a more complete view of my instruments.
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