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 French Transitional Guitar French Transitional Guitar

This is a historical instrument, fashioned after the French builder, Coffe Gougette, who was associated with the instrument building centre of Mirecourt, France in the early nineteenth century. The original instrument was built of satinwood, spruce, ebony and ivory. Shown here, it is built of tulipwood (back and sides), cedar soundboard, ebony (fretboard, binding and bridge), holly (inlays and binding), with additional inlays of lignum vitae and tulipwood. The neck is made of Honduran mahogany. The heart inlaid into the top is made of ebony and holly wood. The scale is a 640 mm scale. This is a marvelous instrument with a warm full tone that projected well for such a small bodied instrument.


 Classical Guitar


Classical guitar

This instrument is in the tradition of the Antonio Torres classical guitar. It has a 660 mm string length and is generally made with an Englemann spruce or cedar soundboard and rosewood back and sides.



Selmer Style Jazz guitar

Styled after the famous guitar designed by Mario Maccaferri, manufactured by Selmer and made famous by Django Reinhardt. This instrument has 640mm scale. The "D" shaped sound hole (grande bouche) is unique to this type of guitar.

Maccaferri Style Guitar

Parlour Guitar  

The small bodied steel string is shown with a koa top, back and sides and ebony fretboard, bridge and binding. A brash little instrument with a great powerful voice, Schaller tuners, and 640mm scale


The  Irish bouzouki has a tear drop shape, flat back and  eight strings. This particular instrument is made of Sitka spruce (sound board), padauk (back and sides), edge grain walnut (neck), and a Brazilian rosewood bridge and fretboard. I like to use Schaller tuners. String length is 640mm making for a  very responsive instrument with good volume and sustain. Like all my instruments, the soundboard is successfully designed and manipulated to give an even response through bass and treble notes.


Irish Bouzouki


Tear drop shaped instrument with contemporary styling, Gotoh machine tuners, local Muskoka flamed maple,   spruce top, walnut trim. Sound holes were inspired by the client's ring at her request. 



Brianna Harp 

The 30 string instrument (right) is made of bird's eye maple, black walnut and Sitka spruce. Its soundbox is of a five stave back construction.  This harp has been noted by numerous players for having a full rich tone and a well balanced response. Stands 42" tall and weighs 18 lbs and is tuned "e " to "c".

36 String Harp 

 This harp (left) is made with birdseye maple  and bubinga trim  with a Sitka Spruce soundboard. The soundbox is a seven staved construction. It stands 54 inches high by 14 inches by 32 inches.  

Lap Harp Lap Harp (left)

This instrument is a 22 string lap harp, tuned from c to a. She stands 31" in height and weighs about 9 lbs. Shown here with a birch body and cedar soundboard, she is also available in walnut, cherry or maple.


The Mary Kate (right)

Custom project with 26 strings, made of cherry and Sitka spruce with a cast bronze finial of the family coat of arms.  Made in the style of the Queen Mary Harp (circa 15th/16th century). Carvings include salmon and the owners initials and inlaid eyes of bone and ebony. 

Materials for Harps

Instrument making is the most intensive and value added use of our woods. The soundboard is the heart and engine of the harp.  I utilize only the finest quality Sitka and Englemann spruce, larch and red cedar for my soundboards. They are tapered for maximum tonal response. For a discussion of the merits of different woods see materials  and construction.  

Options for harp bodies are padauk, black walnut, cherry, maple or oak. A large variety of domestic and exotic woods are available for trim work, inlay or carving. For a new custom feature, please take note of the cast bronze finial on the Mary Kate. 

I use a hand rubbed oil finish, French polish or lacquer that minimally penetrates the sound board in order not to unduly impede its tonal response. Prices may vary according to choice of materials and finish.

My harps are all equipped with friction pegs for fast accurate tuning.

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