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 is based upon trial and error. I could lie say my design is better than others but
I feel like that insults the intelligence of the market. I have never liked to sell my guitars based upon a design gimmick.
My only gimmick is my greatest weakness - basing my self worth from my work. Humans and guitars are both fallen
creatures but are capable of redemption. Yes, I use a lattice braced top, and yes I have goals and metrics
that guide my work, but what makes my guitars most successful is when each one of them is a misdirected attempt
to resolve issues of self-worth. We luthiers are always only as good as our last guitar, so the best design is a
process that leaves room for addressing the inadequacies of our work. The process of a live concert doesn't
allow our customers to go back and fix inadequacies. My process does.
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 professional
guitarists whom I most respect.