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I began playing the guitar as a teenager, and quickly developed a fascination for archtop guitars. I always sought them out no matter where I went - in my early 20ʼs, guitar shows were more important to me than most pursuits that would occupy a young manʼs time. I developed an affinity for the DʼAngelico New Yorker, but that was a guitar which was always out of my reach, for a multitude of reasons. When I finally decided to make a guitar, I took that as my model, and made two of my own versions of that instrument. Over the years, I have had the pleasure and the privilege of restoring, maintaining, and making detailed studies of very fine instruments by John DʼAngelico, James DʼAquisto, and the Gibson company. There is so much to be learned from examination of these instruments, and taking them apart and then putting them back together has been my greatest teacher. That I began as a player and evolved into a builder has sparked a commonality between myself and the makers of these instruments, and that is that great tone is always the ultimate goal. No matter how the instruments were dressed up, aesthetics always took a back seat to the functionality of the instrument. Particularly now, in this age of disappearing species, cultures, and degradation of our planet, it is immensely important to work with a design and execute it in a way that the wood used for the instrument will speak with its purest voice - how else can the cutting of the tree be justified? Design excellence trumps all - but great design, when coupled with meticulous workmanship, an elevated sense of aesthetic, and the hand of one who actually plays the instrument - that is my lifeʼs work.
Uzes, France
New Yorker, Calore, Motif, Broadway, Jazz Special, Custom

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