52 Instrument Co.

I craft each instrument with meticulous attention to detail, delicately balancing tone and structural integrity. Using the highest quality materials, traditional methods, and hand tools, every instrument I build is unique and individual. I spent a number of years under apprenticeship to internationally renowned guitar maker Sergei de Jonge and can consequentially trace my pedagogical roots back to such historical figures as Marcello Barbero and Jose Ramirez. Generous with the wisdom he has gleaned from the years of his dedication, truly inspirational are the only words that suit Sergei, and I am very honoured and eternally grateful to have had the opportunity to work with him.

With a background in classical music and orchestral stringed instruments, I was a kid that had a significant interest in music. I began studying the violin at the age of three and from that point on it became the focus of my childhood. It is maybe safe to say that amongst my peers I was the only twelve-year old with a favourite recording of Bach’s “Violin Sonatas and Partitas.” This study of music eventually led me to join a performance group and for a number of years toured internationally. Eventually, I found my way to post secondary education and studied philosophy, literature, poetry, and art history. I draw a lot of inspiration for my instruments from great artists of the past and much of my design aesthetic has its foundation in the artistic paradigm. During my early twenties I discovered the classical guitar and it has become my predominant muse.

Each instrument receives my undivided attention. My goal is to inspire the player and provide artists with the medium to express themselves unencumbered and to their fullest potential. Though most of my techniques and construction philosophy are rooted in the past, I do employ several “modern” procedures. During the initial selection of the top and back I use quantifiable testing methods to collect data about the physical characteristics. This guarantees that my materials meet my precise standards and yields insight into maximizing the potential of each individual component. The construction of an instrument that functions at its fullest potential demands the study of its vibrations and resonances. I use a signal generator to observe vibrational mode movement and use spectral analysis to ensure that the modes are tuned to resonate at particular frequencies and amplitudes. Regardless of all of the technology and quantitative data, the final determination of the sound of the instrument is based on the choices I make using experience, energy, and intuition to guide my hands.

Every instrument I build involves thoughtful design and an infinite capacity for taking artistic pains to achieve a true concert guitar. My instruments are a reflection of my passion, and I am grateful to those who appreciate the fine and meticulous nature of my craft.