I began building musical instruments in 1968. Initially inspired by the sound of Julian Bream playing the Concierto de Aranjuez on a Bouchet, I finished my first classical guitar in 1969.
In 1974, I moved from California to New England, and I concentrated on building classical guitars. Early influences included Pagés, Torres, Panormo, Fleta, and Hauser. Through the fortuitous circumstance of finding an 1803 Juan Pagés guitar at a garage sale in Maine, I was able to examine one of the earliest examples of five fan bracing as well as 18th century building techniques first hand. New England was a center of musical instrument building, and I met and interacted with all the luthiers and musicians I could, including violin maker Marten Cornelissen and classical guitarist Phillip de Fremery. Cornelissen, a master violin maker, was a primary influence. Cornelissen was able to measure and evaluate Stradivari and Guarneri instruments on collection at the Smithsonian and was generous and forthcoming with his knowledge. As I applied Cornelissen’s experience and method with violins to the classical guitar, a quality of tone emerged that can best be described as singing, rich, warm, clear and brilliant, with excellent projection, separation, and sustain.
I was introduced to José Rey de la Torre in the mid 1970’s by Walter Spaulding. When I delivered his first guitar, he compared the sound of it to his Hauser I. Over the years I have relied on the experience and guidance of virtuousos such as José Rey de la Torre, Phillip de Fremery, and George Sakellariou, in developing an instrument played and appreciated by musicians for over fifty years.
In 1979 I moved back to California, and between 1987 and 1998 I suspended guitar production while pursuing other interests. In 1998 I resumed limited production of classical guitars, and in 1999 moved to Maui where I continue to build the finest guitars I can.