There are many approaches to building a successful guitar. My first attempt was quite mediocre. Its contruction was directed entirely by book. That first guitar lived in a closet for four years
before I would find myself in a position to try again. The next two approaches were mostly improvised - one was traditionally fan braced and one had a lattice braced top pattern that was very dense and strong. This lattice was used because I had arrived by error at a top thickness unsuitable for a traditional guitar. This particular guitar, its design born from error, was loud and riotously fun to play. It gave me such an abundance of confidence that I quit the job I had at the time and hit the road in search of it's future owner. When I returned I had a buyer for both guitars, nos. 2 & 3, and no source of income other than building guitars. It was stupid yet thrilling.
My current approach to building guitars has changed greatly since those first ten instruments. The guitar I build is shaped from my own missteps, the anecdotes of builders I have respected, and guitars that have made the greatest impressions on me. With that said, the time-frame for measuring success in this endeavor is extremely long if one is wise.
As with most domains, those successful in the world of luthiery go into and out of style. Similarly, trends in the structural technology of guitars have come and gone with the rise and passing of the players who championed them. Whatever or whomever trends, I am dedicated to cultivating a unique approach to building a concert classical guitar. That approach is always learning and growing with my peer group of other competent luthiers, always searching for new ways to add tangible value, and always seeking feedback from the most thoughtful professional guitarists who provide it.
