Hur do I work?
If your goal is to own your own special designed "guitar of your dreams" it's very important that the builder is able to realize that dream. Here you read about how I work and what solutions and thoughts I have in different areas of the art of building guitars.



Wood is the basis of every guitar, every instrument I make. Each piece of wood has its own properties, its own resonance, its own unique way of transmitting the vibration of the strings to the pickups and ultimately to the amplifier. I like to use traditional tone woods: mahogany, swamp ash, or alder, for the body, maple for the neck, ebony or rosewood for the fingerboard. Yet I am continuously experimenting with alternative woods; oak, beech wood, and with combinations of woods.

For example, one of my favorite neck wood combinations is a laminate of maple and mahogany. Maple provides a fast response and open, ringing tone. The addition of mahogany helps to round off the tone and provides a more even response along the entire neck, eliminating dead spots. A recent build, a 5-string bass built for a local musician, features a beech wood body with a laminated oak/maple neck. Another neck features three-pieces of mahogany laminated with graphite.

Neck design: I prefer laminated necks. I believe they are unsurpassed for strength, prevent warping, and offering a better response and help to eliminate dead spots along the entire length of the fingerboard. For a bass neck, I often use graphite rods to provide even greater resistance. All of my guitars feature dual-action truss rods for maximum control of neck relief

Neck joint: I prefer to join the neck to the body using my own precision fit bolt-on design. Based on the set-neck joint design, my bolt-on neck joint offers the best of both the traditional set neck and bolt-on designs. Instead of screws, I use threaded steel inserts and torque-head bolts for a super-tight fit. However, some of my customers prefer set-necks, and that is available as an option.

I have also developed my own original designs: the North Star and the Morning Star. Both of these are loosely based on classic designs. In my designs, I strive to preserve the vibrations of the strings as much as possible, allowing the strings to breathe.

Wrap around bridges with locking studs to eliminate everything that can start to vibrate and steal tone. Multi-laminated necks with graphite reinforcements to prevent dead spots. A neck to body joint that is so solid that a neck pocket isn’t necessary from a structural point of view. A neck pocket Where the fretboard cover all of the joints to make a everything look as solid at is in fact is. A fret marker system that combines the traditional dots with the side markers to create something new.
All of this is my effort to combine a traditional feel with an appealing look and the best construction available. I always try to find new ways of doing things.

  Body Shape
The only limit is your imagination. From solidbody to chambered and semi-hollow, carved tops and contoured backs, book-matched, quilted or flamed maple tops…I work with customers to develop truly custom, individual guitars.


I do not use solvent based finishes. All of my instruments are finished using either water-based finishes designed for musical instruments, or oil finishes. Finishes can be transparent, stained or natural wood, solid colors, semi-transparent or sunburst. All finishes are done in my own workshop. A lot of time is spent on finding the right combinations of woods, stains, bindings and hardware to produce a guitar that is visually appealing. When everything is decided I stain the wood or shoot opaque colors. Everything is covered in clear top coats that are hand-buffed to high gloss.



All hardware choices, from the tuners to the tailpiece, are decided by the customer. Of course, I have my preferences.
For example, for the longest sustain and most focused tone, I prefer the wraparound LP Junior style bridge or the Telecaster through-body bridge.
For tuners I prefer to use Shaller or Gotoh. They have always worked for me and have a nice quality/price ratio. As an alternative to a well known, hyped up, inventive nut intonation system (what’s the Buzz about?) I have had very good results with the earvana adjustable nut system and offer that as an option on all of my guitars. However, I am open to any combination of tuners, bridges, tailpieces, and other hardware (with the exception of Floyd Rose-style tremolos). I can also custom-make certain types of hardware.



Pickups & Electronics
Customers have the choice of any pickup or pickup combinations they prefer. I also offer my own custom wound pickups models: the T-90 and S-90. These pack the power and punch of a P90 into the traditional Telecaster and Stratocaster pickup shapes. I can also custom wind pickups in other pickup formats.


Scale Length
Customers can specify the scale length of their choice. I believe the 25” scale provides the perfect balance between the traditional Gibson ( 24.75” ) and Fender ( 25.5” ) scales, offering the “bendability” of the former with the “snap” of the latter. For bass guitars I like the 34” scale (short scale basses lack the clarity of the longer scale, in my opinion), although I would like to experiment with even longer scale basses. But again, the choice of scale length is up to the customer!