My approach to building instruments is largely influenced by the masters I've trained under, an appreciation and purposeful study of the great violins and mandolins of the past, and an understanding of classical art, architecture, design and aesthetic, along with my own musical experience and background.

Some of my innovations include:

• use of an internal mold for the mandolin
• edge overhang and purfling on a mandolin
• Violin-style, chalk-fit neck joint on the mandolin

These methods were conceived to yield different results within the design. For instance, the edge and neck joint mean that the top on my mandolins can be removed for repair in the same manner as a violin. But the methods also yield an intended acoustic benefit--here is no sound-dampening plastic binding on the instruments. Sound is the ultimate priority, and every aspect of an instrument must be designed and builtfor this goal.

    Use of hand tools is a practice that I continue to hone at many different levels (pun well intended). I sharpen every day, using Japanese water stones, as a preparation for the work ahead. Sharp tools lead the hand, making it easy to cut to the intended line or plane. All of my flattening is done by hand using Lie-Nielsen planes, for dead flat work and perfect hide-glue joints. Good joinery means that the instrument has further acoustic integrity--wood cleanly bonded to wood.

    I use both European and American woods and choose wood based on it’s strength, density, resonance and visual aesthetic. I strive to source wood myself, as close to the tree as I can manage, rather than from large commercial sources. Geographically, I have lived in tonewood country for the last 11 years. Vermont is well known for it’s maple, and Idaho has alpine Englemann Spruce. The better I know the wood, even before I pick it for an instrument, the more control I have over the results. As much as possible, I try to use matched wood for the ribs, back and neck.

    Lutherie is a challenge on many different levels, and using different, complementary disciplines. Results mirror methods, and instruments tend to reflect the tools that made them. This can be observed upon close examination of great instruments, and careful and scholarly study of articles and books. Problems must be teased out over time, and the best solutions are often the most elegant and simple. Each luthier must take his or her own path, following the clues left by great builders and musicians.