Since 1982 I've dedicated myself to the craft of instrument repair and set-up, from changing strings and finding minor buzzes to rebuilding near-basket-cases. It is said that Sound Guitar Repair is a no-kill shelter for vintage Guitars!

I have

• replaced crushed sides, busted soundboards and smashed backs
• repaired cracked pegheads, splintered braces, and damaged inlays
• restored guitars so that they look, sound and play better than ever

But that's not the best part —Doing professional fret work and expert set-up, so your instrument plays as effortlessly as possible, is a Sound Guitar specialty. That's why professionals like Bill Frisell and Danny O'Keefe bring their guitars to me.

What's more, it's not just guitars. I've worked on mandolins (including two Lloyd Loars), bouzoukis, tambouriztas, guslas, lutes, ouds, banjos, basses, saz, gedulkas, pipas, and door chimes. You name it, it has probably come through the door (and gone back out in better shape).

My client list runs the gamut from the rich and famous to the parlor picker to the street musician. Their instruments are all treated with the same care and goal —craftsmanship and playability, tailored to the individual player.

I graduated from the lutherie program at the Minnesota Technical College, Red Wing MN, in 1982. Following that I apprenticed with William Cumpiano (author, Guitarbuilding: Tradition & Technology), building and repairing guitars in his shop for two years. I stayed on after my apprenticeship and served as Cumpiano's repair technician for another four years.

In 1989 I moved to Seattle and opened up Sound Guitar Repair. I have repaired and restored a variety of fretted instruments ever since, serving an ever-expanding populace of happy musicians. I have done repair, set-up and maintenance work for the Everly Brothers, Bill Frisell, John Gorka, Danny O'Keefe, Annie Wilson of Heart, Cris Williamson, Del Rey and many other players.

Over the years I have trained five apprentices, presented at luthiers' symposia and conventions, taught at the Crucible in San Francisco and at Roberto-Venn School of Luthiery in Phoenix and contributed to Guitarmaker, a professional journal for luthiers.