About My Guitars
I think of guitars like fine sports cars (think Ferrari), objects of precision, high performance, power, alluring beauty & modern lines. I strive to design and build “high performance” guitars that capture that essence. I like to pursue fresh ideas in design, function, and form that push the envelope of the past, to meet the demands of today’s progressive players. My guitars are built for serious players who want more than what factories have to offer. They are built with the individual player in mind, custom tailored to fit their needs, to help them realize their potential as a player.
Climate Control
One of the most critical and foundational elements needed for building great guitars is a climate controlled environment. Wood is much like a sponge. It will swell when humidity is high and it will shrink when it is low. Building in a non-controlled environment can be detrimental to the life of a guitar as it is exposed to dramatic moisture variations from that which it was built. Therefore, it is necessary to build in the middle of the humidity spectrum. This makes for a much more stable instrument as it is subjected to environmental changes throughout its life. My shop is maintained at an optimal level averaging 45% relative humidity.
Materials
I use only the best materials which have been carefully sought out and chosen for their superior quality. Whether it’s soundboards, braces, tuners, kerfing, or bridge pins, no expense is spared. Just like climate control, quality materials are foundational to great guitars. In addition, all the woods used in my instruments have been properly dried and acclimated to my shop environment for optimal stability and performance.
Elevated Fretboard
The primary function of the elevated fretboard is to maintain a straight, stable playing surface along its entire length for the entire life of the instrument. Over time, all guitars will settle in somewhat due to constant string tension. The neck pulls upward toward the bridge and the top of the guitar does the same respectively toward the nut. The string action may rise beyond a point in which the saddle can be lowered anymore and will require a neck reset to restore the original action. Traditionally, guitar necks have been glued to the body which presents at least two problems. One, it’s not an easy process to separate the neck from the body and can be potentially damaging to the guitar itself. Second, when the neck angle is reset and the fretboard is again glued to the top, there is a resulting “fall-off” past the 12th or 14th fret in which the fretboard angle is different in respect to the rest of it. The benefit of the elevated fretboard is that the neck is not glued on at any point and from the 14th fret on it actually hovers free over the top enabling it to maintain its straightness the entire length of the neck. If a neck reset is ever needed on a Simpson guitar, the neck can easily be taken off in a matter of minutes without any fear of damage to the guitar. The heel of the neck can then be sanded to a new angle and merely bolted back to the body with no resulting “fall-off.”
“Ethereal” Bracing System
The name “Ethereal” means light or airy. The guitar top is the most important part of the guitar when it comes to producing and amplifying sound. There are many facets which factor into the total equation such as weight, stiffness, coupling and placement of braces. These all directly affect the ability of the top to work efficiently. I have created a system of bracing that is light and responsive yet strong and stable. Holes are drilled in the braces to reduce mass without compromising its strength. The placement and coupling of the braces are engineered to maximize the three main vibrational modes of the guitar top to bring in a very balanced, focused, sweet and powerful sound that boasts plenty of headroom.
Asymmetrical Fan Bracing
This bracing system is used on the back of my guitars to create a broader range of sympathetic overtones that can supplement and play off of the high and mid frequencies produced from the soundboard. The braces fan out from the treble side and widen towards to the bass side which causes a varying pitch response respectively from side to side.
Graphite Reinforced Neck
To ensure maximum strength and stability in the neck, graphite bars are installed on each side of the truss rod. This significantly increases stiffness which helps force the energy from the strings into the bridge to be released into the soundboard rather than being absorbed by the neck. Furthermore a graphite reinforced neck is far less prone to warp over time compared to a neck without it. This keeps the neck strait and stable for the lifetime of the guitar.
Armrest Bevel
Many strides have been made in recent years within the lutherie community to make guitars more comfortable. If you’ve ever played an acoustic guitar for an extended period of time, you’ve probably noticed that your right arm can get a bit uncomfortable as it rests on the edge of the top. Numbness can even set in. The armrest bevel serves to provide a softer support for the strumming arm to lessen fatigue and discomfort. The two great builders Grit Laskin and Kevin Ryan have pioneered the armrest bevel each with distinctly different styles and are responsible for its huge popularity. I have blended both styles adding my own artistic touch to create a very original look while providing maximum comfort.