I build Flamenco and Classical guitars in the Spanish tradition. I construct the instruments with tone woods favored by generations of Spanish makers for the qualities of sound those woods bring out in the instrument. The outline patterns, rosette inlay motifs, headstocks and heel carvings are my designs, based on an in-depth study of the styles of the Spanish masters.

Many of today's contemporary flamenco guitarists employ a number of structural modifications not found on the traditional instruments, so in addition to building traditional Flamenco guitars, I offer some modern innovations currently used both in the United States and Spain, including sound ports, laminated internal liners and variations in back bracing design.

Flamenco technique requires the guitar's bass strings to do much of the heavy lifting, so a great flamenco guitar must have sufficient string tension to support thumb techniques like Al Zapua, yet offer supple enough action so the guitarist can play easily, and without fatigue. In order to achieve a balanced, yet robust bass response, I pay close attention to the fan bracing pattern and its relationship to the bridge, and I construct tops that are properly supported, ensuring strong treble response in the midrange area of the higher neck positions where powerful projection is an asset.

I learned the art and craft of guitar making from the advice and guidance of several notable builders. Eugene Clark was kind and patient enough to introduce me to the aesthetics and traditional building methods of the Spanish school, and helped me to understand how Spanish guitars are constructed. He generously shared much of his knowledge with me. Traditional Spanish builders who have directly influenced me include Manuel de La Chica, Santos Hernandez and Francisco Barba. Randy Reynolds has also been generous with his time and advice.

Although many Bay Area guitarists and builders have helped me to refine and focus my love for Flamenco, California is not Spain, and I realized long ago that I both wanted and needed to go there and immerse myself in Flamenco culture. During two separate visits to Spain, I was privileged to enjoy performances by some of the country's most famous and talented contemporary Flamenco singers, guitarists and dancers, performing in a wide variety of both public and private settings. There, in the cradle of Andalusia, the powerful and seductive voice of Flamenco found its way into the deepest recesses of my heart.
In order to gain a working knowledge of both Flamenco and the guitars that give it its singular voice, I've studied with several fine flamenco guitarists both in Spain and in the United States, including David Serva, Juan del Gastor, Antonio Moya, Chuscales, Paco de Malaga, Keni Parker, Jason McGuire, David Gutierrez and Ethan Margolis. I thank them all for the knowledge and wisdom they've passed on to me.


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