This instrument was part of the Third Annual Contemporary American Makers Exhibition.
I live and work in Los Angeles with my shop-cat Spinoza.
I graduated from the North Bennet St. School’s Violin Making and Repair program, where I studied under master luthier Roman Barnas. I have also had the opportunity to attend the renowned Hans Nebel’s set-up and repair workshop, and to participate in the Oberlin Acoustics Workshop.
I see myself as a tool maker, which is why I particularly enjoy collaborating with musicians to fine tune their instruments. My goal is to combine physics, history, and craft into the best possible tool I can for the musician and for the music.
A Note on Materials
We build instruments to last not just a lifetime, but generations. That means choosing the best materials and employing the best craftsmanship. But, to me, this commitment to a non-disposable future also extends to using only sustainable materials whenever possible. To that end, I strive to eliminate the use of all ebony in my work.
For this instrument I have selected plumwood for the pegs, tailpiece, and chinrest. The fingerboard and nut are a synthetic composite—called Corene—that is designed to mimic the look, feel, and workability of traditional ebony while being more durable and sustainable.