I offer two distinct construction methods. The first is an adapted traditional approach – dovetail jointed necks, central soundholes and, in most cases, X-bracing specially adapted to the particular model shape.
My second method features my own unique double-side, solid lining construction. This provides an extremely stiff frame for the instrument – an effective barrier for energy being dissipated beyond the top, which notably increases the projection and responsiveness of the soundboard.
The construction also features my own bolt-on neck system. This has an adjustable and fully removable neckjoint, which maximises contact and delivers increased sustain.
Over the years I have extensively developed my shapes and their sound. Some of my guitars, such as my Parlour model, with its highly unusual x-arrangement, use a completely unique bracing system. (I never design just a bracing arrangement or just a guitar shape, I design a guitar shape that works well with a particular bracing arrangement. (For an extreme example, see my experimental ‘Mickey Mouse’ guitar with its ‘radial’ bracing here.)
I have found that non-central soundholes work extremely well, and I offer several soundport options, meaning increased main vibrating area over the soundboard and better control whilst playing.
My classical guitars come with my version of the traditional fan arrangement or with lattice bracing for a different type of sound.
I use only high-grade solid timbers throughout and offer a choice of 12th or 14th fret neckjoints on all guitars (except Classical and Parlour), along with your choice of custom neck profile and dimensions. Carbon fibre reinforcements, bevels, custom scale lengths – even fan frets – are also available. Just ask.
I offer nitrocellulose, water-based, French polish and oil finishes. Sunburst and coloured or tinted finishes are available as optional extras.
I build flat top guitars, electric guitars and archtop acoustics (guitars, mandolins and citterns) incorporating my own tried and tested design innovations.